|Posted by Feywer on August 14, 2017 at 11:55 PM|
Escape (June 2017)
After the production of “Heartbreak Tapes” I let it sit on my computer for a while gathering digital dust. The music I was inspired by was becoming less dark and dreary and more uplifting and determined.
The relationship fiasco I was dealing with oddly gave me a sense of power and positivity over the direction of my life. Instead of letting it crush me, I let myself be uncrushable. And out of this, arrived Escape.
The “dark-wave” sound was turning to a more “ethereal-wave” sound. Instead of the Cocteau Twins’ moody and gothic atmospheres I was inspired by the lush expansive and rushing textures of Slowdive. The CD case reads:
“Escape is an ethereal wave/shoegaze-style album with a focus on heavy guitar distortion and effect-filters, groovy percussion and drum ’n’ bass rhythms, smashing progressions and some vocals. Let my dark and groovy ethereal rhythms immerse you into an Escape.”
The first track, Make Away (Ambient) is, you guessed it, the ambient version of a song called “Make Away” - but only the ‘ambient’ version was released. Make Away starts the album off with a strong and promising demeanor. The heavy and deep guitar motifs and the smashing snare hits let this song start with a bang. The ever-introducing percussion and layers just keep sprinkling the toppings on this moody ice-cream masterpiece. And when the second guitar lead builds higher off of that, it’s like a digital overdose of sonic perfection. The song lets down nice and easy with the same smashing lead-on as in the beginning.
Friday, the second track, continues the slammin’ rhythm as in the first song but in a different light. It is more upbeat and percussive than the first, and not as heavy and downing. The bright break-beats and always-hitting snares keep the movement until the end, where the nice and steady guitar grooves enter right back in and finish off until the song comes to a gradual fade.
Good Day is less atmospheric and ethereal than Make Away and Friday but makes up for it in its jumpy beat and tapping percussive rhythm. The waving and mysterious sounding guitar motifs sparsely but appropriately dot the track and create the full flow of this loose and simple track until it carries to the end.
Summer Down gets down and dirty immediately with its full and grooving leads. Right off the bat the guitar and beat-percussion hits enter into a faster-paced flow. The choral and string patterns fill in with the sound of the glassy snare-hits, similar to the ones heard on “Heartbreak Tapes” in the song Tomorrow is Promised For No One. It drops off with simple and elegant guitar riffs until the song tapers back in full-force and heavily heads for a nice but abrupt exit.
Melt shifts down to a slower gear and unwinds the force built up by the previous songs with it’s steady and relaxed vibe. The ‘beat and hit’ track helps the mellow and ethereal guitar into the lead. Strings fill in the gaps while the guitar takes a break. The drums hit hard with the percussion snapping back in, and the guitar’s second lead riff-motif slaps it all back together into a groovy and smashing ethereal song. The percussion taps with a graceful echo and lets the song evolve and unfold through some slower breaks until it calmly lets down into intoxicating guitar rushes, the snare lightly tapping in until the end.
Ground Zero is the most upbeat track on the whole album of “Escape”. It begins with rapid kicks and snare hits from a drum machine while the guitar holds to an uplifting expectation with its grooving and placed switches. The snare rapidly hits in the vocals:
Over the lip of the pool and deep to the bottom
Birds won’t stay in paradise
Over the lip of the pool and deep to the bottom
Clattering trunks like teeth gum
The vocals elegantly fit over the evolving and happy-sounding guitar rushes and gritty atmospheres. They mesh and mix into each other as the vocals fly over the track until it makes for a nice and graceful fade.
Sweetheart is a more emotional song, the dreary piano delays and worrying string changing over the bassline as the vocals set the song in full swing:
Keep me in your island
and set me free
Wrap your arms around me
and caress me
Hold me close and touch me
I think about you when I dream
I think about you in my dreams
I can’t keep you out of me when I scream
Dancing alone it’s all a dream
The guitar’s mad and rushed sound adds to the complex and changing texture of the song until it quietly fades.
Heavy is - you guessed it - the heaviest track on the album. The bass is loud and heavy and fades the guitar’s siren-sounding guitar lead into the smashing percussion and drum beat. All the while the bass kicks on. Another desperate and wild-sounding guitar enters the stage for a short time until the song ends just as heavy as it started.
Slide is a bonus track on “Escape”. It is not featured on the official release. The bass clues in with the striking sound of kicks and snares. A guitar coyly slides in with the sound of another guitar’s quiet leads in a clever way. It breaks for a hesitant but jumpy moment and then resumes its plucky and up-beat attitude. The delayed sound of a snare’s relentless intrusion leads the song to it’s sliding end.
After I produced Escape, I had submitted it to various local radio stations. And because I had moved around California from the North to the Bay-area and then to Sacramento, it gave me chances to send out inquiries to many stations in the area.
Listen on YouTube: https://www.youtube.com/watch?v=Mf1Y9Hg4CK8