tyler costolo’s earliest offering as two meters was a force to be reckoned with. when we premiered the florida songwriter’s debut track, “left behind,” at the end of april, costolo’s ability to transform profound grief into a cathartic was readily apparent, and he was able to subvert that catharsis – donning the millstone again – on the haunting follow-up, “captive audience.”
last friday, costolo released his self-titled debut extended play via the houston label very jazzed. three additional tracks accompany the aforementioned singles, altogether providing a cohesive introductory statement for his whispered brand of bedroom pop confessionals. “current sequel” is a weary interlude, paying homage to its title by repurposing the harsh, grating textures of “left behind” for its own mourning metaphor, while the distant arpeggios that populate “trapped inside” are perfect conduits for costolo’s spare exploration of loneliness and isolation.
closing out the project is the slightly macabre yet endearing “web,” its idiosyncrasies bottled up in the angular piano motifs perched atop the texture. additional production from label mates get a life and pastel feature throughout two meters, and the latter lends their vocals to the finale, wordless echoes that accentuate the project’s haunting thesis. at just under fifteen minutes, two meters is a compelling debut best – and easily – consumed in one sitting. listen to the extended play, streaming in full below.
tyler costolo’s output as two meters has been spare but incredibly affecting thus far. his debut single, “left behind,” shrouds traumatic loss in a colossal soundscape built on an unassuming foundation of acoustic guitar and vocals, a glimpse of his forthcoming self-titled extended play.
the magnitude of the aforementioned project has been further clarified by “captive audience,” which doubles down on the affectations provided by hushed guitar and vocals while exploring the ramifications of a physical altercation. costolo’s labelmate pastel again makes an appearance, this time singing whispered harmonies as the track soaks in its implications. with its distant, dissonant piano undercurrents coursing through the texture, “captive audience” retains a haunting aura complementary to the catharsis of its predecessor.
two metersis due out june 15th via very jazzed. take a listen to “captive audience” below.
tyler costolo ventured into the realm of home recording at the top of 2017, armed with a guitar, a voice, and a bevy of deeply personal, confessional lyrics. as two meters, the boca raton native has honed sentiments of loss and sorrow into a precise vessel, one that takes the shape of a five-track extended play due later this year.
making a lasting impression is “left behind,” the stunning debut offering from two meters and his extended play’s opening number. faint strumming and a muffled voice are the pillars of a prelude filled to the brim with accounts of overwhelming personal loss, costolo intimately recounting the death of his mother and the immediate aftermath. “left behind” eventually swells into a titanic arrangement supplemented by production from label-mates pastel and get a life, a fuzzed-out cacophony that mirrors the indirect catharsis this song provides.
caroline sans has been slowly gathering material for her new ep as sur back for the better part of two years; her latest single suggests its prolonged gestation has been well worth the wait. on “trophy daughter,” sans weaves a melismatic vocal line through a barrage of hazy organ chords to create an end product that’s as eerie and hypnotic as anything else in her repertoire, although the angular guitar lines lurking in the background saturate the track with a decidedly more ominous overtone. “trophy daughter” will appear on kitsch, due out july 1st; click here to view sans’ self-directed music video and to read about the genesis of the track itself. “trophy daughter” is also streaming immediately below.