caroline sans will release her latest extended play as sur back, kitsch ii, on february 23rd. our first sampling of the forthcoming effort was “valentino,” a stuttering piece of orchestral pop; on her latest single, sans embraces the first of those two descriptors head-on.
“anyone else” is a five-minute suite, a grandiose conglomerate of strings and synths and rich vocal harmonies: everything that makes sur back a consistent treat to listen to. but all elements here feel amplified, and the lack of percussion lends an anticipatory vibe, a prolonged tension in search of its cathartic release. perhaps that release will eventually be found; “anyone else” is a companion piece to another track titled “providence,” meaning the arrival of kitsch ii cannot come soon enough.
jordan lee’s work as mutual benefit has been nothing short of impeccably intimate thus far, and tastes of his forthcoming full-length suggest no such deviation from this path. “the hereafter” closes out skip a sinking stone, out may 20th via mom+pop, replete with bucolic counterpoint that eventually coalesces into an ornately orchestrated outing. staying constant amidst the evolving textures is lee’s vocal, ever-soothing as he tentatively stretches into his upper register and resounding as he ventures back down to deliver the song’s central thesis. get lost in “the hereafter” below.
a musical trope that has become nearly synonymous with eau claire over the past ten years is the rustic, acoustic-driven tones of acts like the daredevil christopher wright, kalispell, and of course, bon iver. at this point, a continuation down that already-beaten path may run the risk of seeming redundant, as if the artists might be trying to cash in on an established aesthetic rather than creating something genuine. on the opposite end of the spectrum lies rivers, a three-piece currently splitting time between the midwest and the east coast; folk music is merely the vessel through which the band conveys their ideas, as opposed to their endgame. on their debut effort, of dusk, rivers offers up a collection of songs that offer up a fresh new perspective on an established tradition.
dexter wolfe’s songwriting has always had a slightly enigmatic quality; even in the hard-hitting, comparatively aggressive setting of his previous band sky lion, it was evident that wolfe took various cues from introspective stalwarts like elliott smith and elvis costello. the former’s influence resonates clearly throughout of dusk and particularly on “even if,” an early track that remains a standout through the album’s duration. wolfe proves himself to be rather skilled in the department of imagery as well, bookending the album with lyrics like “beneath yellow leaves / with rolled up sleeves / eyes lost in the branches / of your family tree” (see “weeping willow”) and “it was the start of something beautiful / i heard her heart and tripped, well… i fell right down” (see “where though lies, death ripples”). his capability to weave personal accounts with metaphor and personification plays off as effortless, and more importantly helps to establish rivers as a lyrically mature and formative ensemble.
the music that accompanies the poetry on of dusk is perhaps even more impressive. alongside wolfe – who handles guitar and piano chores in addition to vocals – are pat kuehn and colin carey, who tackle upright bass and percussion duties, respectively. kuehn’s bass playing is the timbral element that immediately stands out and seeks to separate rivers from the other bands who share a similar aesthetic; the long, mournful bowed tones augment the melancholy in the beginning of “even if,” but kuehn’s role also serves the purpose of driving the music forward in spots where carey’s percussion is rather sparse. by itself, the resonance of the upright bass gives rivers a distinct, orchestral quality, one which is further explored multiple times through the string and horn arrangements found on “saudade” and “the locket.” even carey’s drumming can feel symphonic at times, as he adds sparse percussive supplements to the more delicate moments on the album and aids the band in achieving their select few moments of absolute crescendo.
sharp songwriting and intuitive arrangements adorn of dusk, and its slightly haunting characteristics make the record a suitable companion for the chilly air that predominates these waning spring nights. largely self-produced and entirely self-released, rivers and of dusk have proven to be adequate advocates for the continued support of independent, local music; sometimes all it takes is years of determination and perseverance. you can stream the album here and find all of the dates for rivers’ upcoming tour, as well.