Raymond Happiness Creates Its Own Animal

    Landmark moments in rock music have often been the result of an artist successfully merging previously distinct genres into a new style all its own. Hallmark examples include Dylan plugging in and merging literary, folk lyrics with a rock sound (Highway 61 Revisited and subsequent tour). Another notable instance was when U2 blended post-punk with Americana (Joshua Tree album and subsequent tour). While unsuccessful efforts could spawn an awkward, ugly, useless beast, in the successful instances the result is the sum being greater than the parts and the formation of a new, highly functioning animal. 

While no one here is suggesting Raymond Happiness has made a laboratory mark the equivalent of the aforementioned artists, their debut album The End is clearly its own creature with a sound that not only works, but is enjoyably and distinctly... Raymond Happiness.

The Kounter brothers of Raymond Happiness

As we've been following their successive singles and EP, RH's notable experimentalism has offered us  some highly interesting tracks. While the melee of genres they've traversed might have resulted in them becoming a mere novelty act, their full-length debut album has revealed them to be anything but mere novelty. The End, instead, is a highly honed-in collection of songs that blends Indie Alt-Pop, EDM, and even some shades of Classic rock, into a natural, flowing experience. Neither musically nor lyrically does the album sound forced, but instead is artistically constructed with heartfelt precision. The opening track (with SPARKS-ish inflections and attitude) is followed by the title cut, which sets a very modern, studio mogul feel. It also begins setting the base colors of the album with a recurring motif of somber joy. One could describe the mood as an existential or even spiritual attitude that speaks to the writing on the wall for a coming apocalypse, while there can still be a youthful spirit that goes deeper than these mere surface issues - and even far above them. Both lyrically and sonically the album repeatedly displays a depth that can be ironic, paradoxical, and thought provoking (note the chorus "We've got a long time left, and no time at all."). Throughout the listening process, one notices countless arrangement and production contrasts. Reverberation levels are both wet, and then dry. Keyboard sounds are both modern and retro (notice the Fender Rhodes sounds of "No Time At All" and the closing synth sound of its bridge that resembles the old Juno variety). Instrumental riffs are both electronic and acoustic - studio programmed and live. Often the exchanges happen several times in the same track (see the acoustic bridge of "God Only Knows" that morphs a pop ballad into a Relient K type of interlude, with the segue-way back into the main theme featuring live, post-punk, high-hat drumming). The songwriting ranges from catchy pop to an almost classic rock vibe (see especially the brilliant "Glow" which is almost a hybrid of Coldplay meets the "Late for the Sky" era of Jackson Browne, all in 6/8 time). One might expect in all this the album would be disjointed. Know for certain it's anything but that. Aside from the pop, intermission-like "Kansas" which serves strategically as a clear-your-head type of digression, the album flows almost seamlessly in a stride of both melancholic and reflective... happiness. Suffice it to say, there are "Wolves among the dogs in the yard" - but the Raymonds remind us, fortunately, there is a "way out." 

Before taking your own dogs for a walk in the warm weather of our 2022 season, know that Raymond Happiness' The End might just be the best album animal of the summer. 

You can enjoy one of the notable tracks "Wolves" right here ("Wolves" by Raymond Happiness on Youtube), but be sure and check out the entire album on SPOTIFY, APPLE MUSIC, and I-Tunes. 

-PS

(If you like any of these artists, you will probably like Raymond Happiness - or vice-versa: Pyramid Park, Foster the People, OM-53, Coldplay, Mirrours, Relient K, Owl City. Josh Garrels, Built by Titan)

 

                           -

JOURNEY to the STAGE with Bryan Frazier Interviews Bill Mallonee

 

A really solid music podcast based here in Central California keeps raising its reach. JOURNEY TO THE STAGE with Bryan Frazier is still in its freshman term of existence, but has already posted insightful interviews with some of the most interesting players in the industry. Although this reviewer usually listens on SPOTIFY, JTTS has now expanded to YOUTUBE (see here). This new step couldn't be more timely, in that the most recent interview is with non other than the legendary, enigmatic singer/songwriter Bill Mallonee (of Vigilantes of Love). Bill was once named by Paste Magazine as one of the top 100 living songwriters in the world (one might recall that here at P.S. we've reviewed his albums before). One would have to stretch his memory, however, to even recall hearing an audio interview with Mallonee, and yet here you have it. As is typical with Frazier's dialogue approach, the artist gets to speak for himself (along with his music) which is all triggered by Frazier's casual, yet still provocative questions. Of note for this installment is Mallonee's response to which four American songwriters faces should be carved in the Americana music Mt. Rushmore. Of course, it could be argued his own face could justly be considered part of that group. Here at Potluck, rest assured we'll be looking forward to more compelling conversations from Journey to the Stage.   -P.S.       

POWERSOLO Will Change Your Life

If you don't know POWERSOLO, you should. Somewhere between Tom Waits, Beefheart, The Residents, and The Ventures, is POWERSOLO, from Denmark. POWERSOLO will change your life.

-PS

RAYMOND HAPPINESS Debut Album is Coming

 

Central California is in a bit of a buzz right now anticipating the release of the debut album by RAYMOND HAPPINESS. Admittedly, our arid landscape is not known for its alt-music prowess, but Raymond is bringing us some possible happiness - and hope. If their freshman project is as strong as this track (listen to WOLVES right here), we could be in for something special. Be watching here at Potluck for our forthcoming review of the entire album.   -P.S. 

We've FINALLY Listened to Marc Plainguet...

And as we expected - it turns out we like his stuff. 

Some of you might know our bio as band POTLUCK SUICIDE (see lengthy description akin to War and Peace under "Why Potluck Suicide"). Some know that our long-awaited, never released third album recorded in 1994 was to be entitled:

WE'VE NEVER LISTENED TO MARC PLAINGUET 

BUT WE'D PROBABLY LIKE HIS STUFF

We figured this title would help zine reviewers from a priori, assumed comparisons and making that the primary theme of their article content (for instance, True Tunes' highly dismissive 1991 review of our second album Stan Was a Plush Toy which basically pigeon-holed us as plagiarists). Hence, we came up with this title, which was both factually accurate and quite catchy. We know reviewers have a tough job, and we're only trying to be helpful.    

Now, it turns out, Marc Plainguet has starting releasing his stuff on Bandcamp. And guess what? Come to find out, we like his stuff! Some Marc P. album reviews should be forthcoming right here on P.S.

 Until then, just know: Our unreleased third album title was prophetic.

-P.S. 

Skiprope Cello Dives With Zelda (2015 debut EP review)

Here at Potluck Suicide, there's been much anticipation for the release of the first studio EP by a band we follow call SKIPROPE CELLO. We've had access to their demos, we've sat in on some appearances, and well, houston, we finally have contact. Why should we be kindred spirits with them? Consider that their influences include:

Dostoevsky, Steely Dan, F.S. Fitzgerald, The Clash, Henry James, Potluck Suicide, Gary Numan, James Joyce, Daniel Amos, Fellini, Marc Plainguet, CS Lewis, The Residents, George Bernard Shaw, Al Jolson, Atom Bender, Chopin, Captain Beefheart, TS Elliot, Bob Dylan, Ultravox, Scott Joplin, Mark Krischak, Anthony Trollope, The Strokes, Kraftwerk, Bill Mallonee, Franz Kafka (as noted at SOUNDCLOUD found right here 

So what's not to like?  

Their 2015 debut album release "Diving with Zelda" is based on the writings of F.S Fitzgerald and portrays the ironic nuances of the not quite there yet but trying attitudes of the 1920s roaring jet-setters. The style is, how shall we say ... indefinable. Even one early listener on SOUNDCLOUD notes ... "whoa, I've never heard anything like this" (-from DREWZY PIEK PROMO PAGE). The three piece California/Iowa band describes their music genre as an eclectic mix of alternative, lo-fi, techno, lounge, punk-jazz. Confused yet? Why not just enjoy? The loungy, lo-fi opener "Birds" - replete with vintage Fender Rhodes and moog synth sounds - is a great place to get initiated:




After a wonderfully random scurry of words and noise in "This Side of Minnesota" resolving around a melodic, chorus, out-tro "ragtime kids, flappers, jazz-women, baby-vamps" the EP throws the listener a curve-ball with a hyper-ditty entitled "High Point." The song has quickly been noticed as a favorite from the band on SOUNDCLOUD. Check it out for yourself:




 Following some obtuse, yet enjoyably literate, jazzy mutterings in "Old St. Paul" a listener thinks the artists might be figured out, and then they spring (or should we say summer?)  on us our personal favorite song on the album, the garage-esque, retro-synth punk - into - light jazz number "Divers of the Riviera." The theme of the song is said to be based on a fictitious couple known as the Divers in F.S. Fitzgerald's lesser known book "Tender is the Night." The words and feel become infectious, and mirror-like in an ironic way for the modern listener. What is lo-fi, punk-jazz? Try it on for yourself:


An acapella reprise wraps up the experience, and we look forward to future jumps with Skiprope (you can pick up their album at BANDCAMP by going HERE. 

(We will soon be reviewing their terrific debut VIDEO as produced by WORST KITCHEN RECORDS). Until then, here's a link to check it out for yourselves.

                                    (art work by meg smiley design: http://www.megsmiley.com/)

PRIVATE MEN - Indie Band from Israel

NEW BAND ... worth checking out - PRIVATE MEN. Sort of a modern, alternative "Pet Sounds" vibe. Maintains edge, yet is ethereal. Brian Wilson meets Doves. Link to Bandcamp can be found here. Their own website can be found right here. Oh, yeah, and they're from Tel Aviv in Israel.


Happy listening.


-Francis Itch and PS

PEENO - This Microphone is Broken

 So we ventured a number of months ago upon the wonderfully brilliant SAMPLER by Worst Kitchen Records and were so moved by the insanely abstract "BIG AND BAD" by PEENO, our good friends at Bad Itch Productions went ahead and produced a fan film in honor of this audio masterpiece (see below):

                                          
PEENO's album This Microphone is Broken is no less remarkable. We venture in our collected memories back to college, when we'd invite a group of people to a dorm room to lie on the floor and stare at the ceiling. With thrift store-purchased, lighted, decorative balls mounted in the corners of the room - we'd listen to David Lynch's ERASERHEAD soundtrack. There was mostly silence among us until some of the weak-minded would ceremoniously announce "we can't take it anymore." This is at least a ballpark description of the listening experience discovered in PEENO's This Microphone.... How might we ascribe to it a sub-genre of music category? Let's see - how about: 

70s Industrial Cartoon (?)

The fact is, the album breaks out of brackets in description defiance. Try to think of shades of the audio track for the classic "B" film Logan's Run (one of our absolute favorites), mixed in with occasional rhythm grooves and noises from 70s kitsch. While we love "Don't Play Ball in the House" our favorite track has to be the irrepressible "Wilkinson Funkmaster 2000," which conjures up something of a cross between a groovy, beat-nick gathering with the leftovers from a train wreck at a shopping mall. What can we say: We LOVE IT. In all, YOU will love it, too, if you keep your mind strong (and open). 

Pick up your own copy of PEENO's TMIB by going right here (if you can take it... ). 

Rumor has it PEENO is inches away from having a 2nd album recorded, and we'll be waiting with much anticipation.

 -PS

    

Why GRAND is still Matt and Kim's Best Album

GRAND remains the best album by Matt and Kim. We have reasons for standing firm on this. Bands so often start with a bang - like a firecracker in a garage. Then, they begin to venture into the house, with a few tech toys, while still working in the garage. Too often, at some juncture, they leave the garage completely, never to return again.

Hence, Matt and Kim. Their rare, lo-fi debut - is really good. It's a firecracker in the garage (yeah yeah!). But then there's GRAND - venturing in and out of the garage. Songs slightly more polished, but still raw. Like very early post-punk. It's just... terrific. With LIGHTNING, they moved into the house. Unlike others, we actually feel there are elements we like better on NEW GLOW as compared to LIGHTNING. The experiments are bolder. Yeah "GET IT" is a pop song but GET over IT. So what?

But GRAND is still the grandest.

Just give "Lessons Learned" a re-listen, and learn your lesson.

-PS

Swing It, Bill

a Potluck Suicide review of Bill Mallonee's 2015 album Lands and Peoples

We were recently perusing our collaborative thought canals regarding what it is that makes for a great song. By great, we mean one that remains relevant through time's passages and beckons "come, listen, yet again." Although it'd be self-defeating to attempt to concoct a scientific formula (most creatures on dissecting tables have long-since deceased), one can't help but at least read the x-ray results of a tune's chest cavity in order to discern certain patterns. Granted this remains a subjective, nebulous, and messy procedure. Hence, we will proceed with caution. 

Musically: The number should be at least somewhere… off…  the trampled path, while still not succumbing to the mere hanging of a banana from the ear (as an unnamed artist once put it).

Lyrically: (Here we dive deeply into subjective waters) there should be an element of cryptic mystery – and in these authors’ opinions, empathetic metaphors. In other words, you should be able to somehow experience it not as merely the artist’s song, but as your song. That being said, we feel that virtually ...

...no one wields the art of empathetic metaphors like Bill Mallonee.

When the reviewers of PASTE placed Mr. Mallonee, former front-man of band Vigilantes of Love, among the “top 100 living songwriters” on the planet, we’re not certain if this is how they would cut (and PASTE) their rationale - but this is how we at P.S. are choosing to write our lab report. We also deem Bill’s latest album entry Lands and Peoples as no exception to our conclusions.

People familiar with his catalog know he's not only massively prolific but sometimes seems to complete his works in album groupings, like triads, with different collections of songs making up a whole.  On other projects, Mallonee isn’t shy about kicking down the door with driving, alternative, roots rock. The most recent albums, however, might be described as treks into stark, yet somewhat grooving, moodiness. Stemming from the previous excellent studio projects (Dolorosa, Winnowing), musically Lands builds on an already savory foundation with the difference being some subtle, yet distinct experimentation. Mallonee’s signature acoustic guitar work is here, along with the beautifully, and hauntingly ethereal electric-ax moments. Uniquely, however, this time around the arrangements include: Resonator, high-string/ Spanish guitars, dulcimers, and string arrangements, along with Muriah Rose’s elegantly understated piano, electric piano, and organ. The artistry of the often minimal placement of these colorations is easy to overlook upon initial listens, but with re-spins delivers with ascending captivation. The instrumentation reaches a sort of peak in the middle of the album with Sangre De Cristos, featuring wonderfully welcome accordion riffs. As is often the case for a Mallonee project – the sun periodically breaks through the clouds, and musically Sangre matches its lyrical offering - "The sunlight never fails to win the heart's allegiance." It’s safe to say that lyrically, Lands and Peoples reveals, like previous albums, that essentially …

...no one wields the art of empathetic metaphors like Bill Mallonee.

In the lyrics, the story telling includes a tour through the past, with an opportunity for corporate confessions. Whether the listener incarnates in the songs as victim, victimizer, or mere bystander - this somber, spiritual road trip through dark Americana is remarkably therapeutic. Riding with the author on this southwestern audio-venture through a nation he describes in liner notes as “wounded, burdened, even haunted” – actually comes across less preachy as it does pensive.         

There ain't nothing like the past to remind you of who you are
There ain't nothing like the present to tell you who you aren't
After everyone's been bought and everyone's been sold
The steering wheel is a prayer wheel on the open road
(from Steering Wheel is a Prayer Wheel)

Still, the precedent of discovering hope on the open, lonely road is evident even from the opening track: 

One more thing about that drifting
Every place becomes your home
And yes, you may be lonely ...
but you never are alone
(from At Least for a Little While)

Rest assured, this work is dark, but in the midst of desperation and remorse, glimmers of enlightened resolve continue to break through the emptiness of the varied terrains:

Now you can dig in the desert; 
you can dig in the sea 
You can dig on the mountains on high 
I know this much: It's where no shovel can touch 
that's where the real gold lies 
(from Northern Nights and Southern Cross)

As noted before, it’s not an overstatement to say that, really…

...no one wields the art of empathetic metaphors like Bill Mallonee.

It’s our contention here at P.S. that perhaps the standout track on the album is I’ll Swing with Everything That I’ve Got.  From Qoheleth of ancient Hebrew literature, through the Greek philosophers, to a certain 1^st century Jewish Rabbi, the questioning of “what is life” has always been a meaningful exercise. Taking the listener through a baseball analogy to a seat at the table of a card game, the songwriter offers his own swing at the subject, and leaves the listener with some reflective gems:  

Now, they say life's a game
and most are bound to lose
because the deck has been stacked from the start
But lately, I've been wondering
if life is what you give away
and what could be more precious than your heart?

There's a story that I'm writing
Would you help me hold the pen?
On every page you will shine just like a star
And if that deck is stacked?
We'll just laugh and leave the table
And leave the dealer all alone there in the dark

               

Did we tell you that, all things considered…

...no one wields the art of empathetic metaphors like Bill Mallonee?

We’re not certain how he continues to consistently deliver, but he most certainly does - and we’re hopeful he’ll continue to do so for a long time. Until next time, we say “Swing it, Bill.” To others, we highly recommend getting your own copy of Lands and Peoples, and then to start swinging away at the rest of his extensive discography.

for Bill Mallonee Music go here: Bill Mallonee Music

-P.S Contributors     

Berl Ives' Silver and Gold Recording Session Released by Worst Kitchen Records

We had no idea the original out-takes of Berl Ives' Christmas song Silver and Gold had been released. Special thanks to Worst Kitchen Records for documenting this historic recording session. Enjoy this piece of history which ranks up close to virtually any sessions at Sound City, Abbey Road, and Sun Studios. 

The Choir/Mike Roe - Circle Slide 25th Anniversary Tour 2015

                      A Potluck Suicide concert review (Fresno, Ca. June 10, 2015)

The bummer for bands that don't fit anyone's mold is they continue to make fine recordings, tour relentlessly, and don't get their "due" credit. The blessing for fans of these bands, is they get to experience intimate shows and occasionally even meet the crafters of songs that have shaped their lives. Such is the case with The Choir, as well as opening artist Mike Roe (of the 77s) at this Fresno, Ca. concert June 10, 2015. This was the Circle Slide album 25th anniversary tour. That same album was one of the first 25 CDs ever purchased by several in our entourage (before that, there were records and cassettes, in case anyone is confused - yeah we were late owning CD players, but we were starving grad-school students). Here's footage of one of our favorite tracks from the album we never thought we'd hear played live. The image is a little dark, but in the back to the left, yes, that's sax player Dan Michaels, making his first Choir concert appearance in California in roughly 20 years (and of course, Mr. Roe is on bass).

Yep. Um, pretty cool, wouldn't ya say? Compelling material and performances. Steve Hindalong's percussion strikes us as being more intriguing every time we listen to these guys - proving one need not beat the life out of things in order to be viable. Other highlight numbers from the night included Blue Skies from the Circle Slide set, and the powerful What You Think I Am from their latest album Shadow Weaver. You can check out more Choir tune-age by going here. The only beef we had with the gig was Mike Roe's set being too short. His songs were splendid, starting with a sedate version of Phony Eyes and concluding with an audience participation version of Nowhere Else (a song which he thoroughly ripped prior to performing - expounding on a story of "special music" girls being brought into the studio for the recording which they... hated - but we love! Classic Roe-isms). Still, only about 5 songs, total, and nothing in the vein of Why don't you get up/U-U-U-U/Nuts growling variety. I suppose the old adage applies "leave'm wanting more."

We did (want more). Still...

...we got to meet Mike after. We had a list of subjects to talk with him about and ended up conversing about... none ... of them. We were too intimidated. Hope to see them again, maybe at this same venue, when we've built up a little more nerve (you can check out 77s/Mike Roe tune-age by going right here)  

-P.S.

   

U2 from the Cheap Seats - Concert Review - Los Angeles, May 31, 2015

                                                                    

photo by Amory Blaine - May 31, 2015 GW Forum

"If I was a good pop star, I wouldn't be telling you about the way I grew up, because I'd want to keep those things from the public" -Bono (from October 8, 1987 interview in Rolling Stone 510)

"We want to take you back to an image of Dublin, in the neighborhood where we grew up" -Bono (from May 31, 2015 L.A. concert - prior to performing song Cedar Wood Road)

We recently caught one of the U2 Innocence-Experience shows in L.A. We're thankful to say, we're of the notion they've finally discovered a working stride for their live act. For whatever reason, they've seemingly been on a pendulum swing over several tours in a kind of tug-o-war between being personal vs. experimental. It's almost as if they've finally now acknowledging the live experience can be both. Like in the old days (having seen them since the early 80s), this L.A. Forum show featured plenty of passion and engagement with the crowd - along with addressing the audience in ways that seemed... friendly. But like the ZOO TV era and beyond, they pushed the edge (no pun intended) with a certain unpredictability. As in bye-gone days, songs are again taking on new life when performed in person. Quite frankly, it's the reviewers opinions on this site U2's live show is better when Bono DOESN'T play guitar, since he can tend to almost hide behind the instrument much of the time. Be certain, this gig was ENGROSSING. It didn't even matter that we were in the cheap seats, behind the stage, where we swore we'd never sit again after the Vertigo tour 10 years ago (has it really been that long?). Bono's voice and energy have never been better, and surprisingly, he was actually, um... gracious. Earthy numbers like Love Comes to Town and All I Want is You  were weaved dramatically into more noise-groove laden performances of Even Better Than the Real Thing and Invisible. Overall, they slayed what they were trying to pull off in the arena setting, and we'd see them again in a heartbeat on this current tour should the opportunity arise.

Now, as far as the album goes: After a solid amount of listening, we kept thinking - "it just seems like they're over-committed these days to a basic song-structure formula: verse-chorus-verse-chorus-bridge-chorus (ad-infinitum)." Sure enough, in an interview the boys note they had recorded an entire album (by 2013), then scratched the whole thing - bringing in song-writing help. At least one producer (Rick Rubin) early on kept chiding them "to write traditionally structured tunes" (from Rolling Stone 1221 Nov. 6, 2014). There are elements we like about the Innocence album (especially some of the post-release versions), but overall, we're pulling for the 2013 unreleased album to be unearthed - but, at least from the vantage point of where we're sitting, it doesn't look like that's going to happen.

-P.S.

Gungor - Wakes Us Up

If you know us, you know we can be pretty indifferent to a lot of "Christian" ... "music." A definite exception is Gungor. Caught their act in L.A. in the past year. A band to check out no matter your background or views. Enjoy:

BATTLE of the BANDS: Ra Ra Riot vs. Winter Gloves

Ok, so two of our current favorite alternative bands are Ra Ra Riot and Winter Gloves. But which is the best? RRR has the wonderful strings base to go with the lo-tech keyboard. Winter Gloves utilizes still more lovely lo-fi synth and continually keeps the listener guessing if the next tune will be guitar or retro keys-driven. Both feature unassuming songs that grow on you. RRR seems to have more of a literary bent, while WG's lyrics might be more cryptic. Both are amazing, but which is better? Help us out. Is it...

Ra Ra Riot?

or...

Winter Gloves?

                                        

Help us decide.

-P.S.

Marnie Stern - The Chronicles of Marnia

Every now and then one should listen to something like The Chronicles of Marnia even though it has nothing to to with Lucy or Clive Staples Lewis. The release is set of March, 2013, and we can't wait. We covet it almost more than Turkish Delight, even though we don't need a sledgehammer to walk in her shoes. Thanks, Marnie. Truly, nothing is easy.

P.S.

 

Streetside Vinyl - There Might Be a Hope (Concert and Album review)

I've been delinquent getting this review posted. My bad.

Streetside Vinyl - The Concert:
So, I happened into an AMPLIFIED/PULSE sponsored event at the "MP" on Fruitvale Avenue in Kern County, California (Nov 28, 2012). Expecting to see a certain purely pop act, I arrived fashionably late only to hear truly unexpected sounds sifting through the ear drums of my attitude. "What is this?" (I thought). The tune cutting my "tude" was a cross between rock-a-billy, swing, and punk. To finish the slicing of my presumption, during an instrumental section of the song the singer breaks out this small saxophone and starts... ripping.

Again - "What is this, and who are these guys?"

As it turns out, this was the first song of an acoustic set played by a Kern County, California band called "Streetside Vinyl."

As the set continued, the band broke into two songs I'd describe as delectable, acoustic post-punk. The singer's voice reminded me a little of the Tooth and Nail band Slick Shoes. Just as I was really starting to get into it, their set stopped. "Thanks, good-night." Bummer for us - I guess that was all they were slotted to play. Afterward, I picked up their EP.

Streetside Vinyl - The EP
So, after purchasing their CD and spending a little time talking with the band members, I popped their tunes into my car and have been enjoying them ever since. The SV album "If There's A Hope" is a seven song EP that's a terrific first outing for this young band. What might be a simple, helpful description for some, would be to imagine an edgier, more "indie"-esque Angels and Airwaves (know that "indie-esque" for my taste is a good thing). The songs which are the exception to this are the more hard rocking opener "I Have My Reasons" and the more swing-in' number "Enough With the Tricks" (which I liked better in the live acoustic format, but it's still good on the album. Do make an effort to catch a show and hear these guys perform the song live - as you will get blown away). The lyrics of the album range from issues involving love, love-lost, and some other thoughtful, and at times cryptic elements. In keeping with the title, the songs collectively tend to ring with an air of triumphant "hope."

My personal favorite song on the "Hope" CD is probably the last cut "Escape" - with its guitar riff that dances in your ears as an enticing combination of being both ethereal and sort of "lo-fi" at the same time. Being topped with Gough's epic, yet still quite edgy, vocal performance - this track encapsulates the ability of a band that could very well have a truly great future.

Go street-side yourself by going right here.