Java.March.2017

DAISY
Beauty of These EP
THE WOODWORKS
Au Naturel EP
UPSAHL
Unfamiliar Light EP
DAISY took their time following up their 2015 debut,
In Retrospect. At long last, Beauty of These has been
released on the heels of two preview singles, “Hear
You” and “Feel.” The singles kick off the affair and
set the mood, creating a breathtaking introduction
to the soundscape. It’s a whole lot of alternative pop
that matches with Two Door Cinema Club or Bastille
quite well. Both tunes have been getting local radio
airplay, and with good reason—DAISY is radio ready
for the alternative airwaves.
“What If I Was” is probably the next single, and
it has an exciting dynamic that is reminiscent of
their live show, while “Are You Feeling Loved” is
an uplifting anthemic ballad, with a bit of alt-rock
pacing that is low key and effective. It’s hypnotic and
seductive and is a welcomed break from the back-toback
singles opening the record. It may be their finest
moment musically speaking.
“If I’m Telling The Truth” is a total shift in gears,
dark and self-reflective, vulnerable and devastating
in its delivery. “Dawn” is a breath of fresh air after
the harrowing ride preceding it, and it’s downright
beautiful pop. If it’s not a single, it’s certainly
a showcase for the beauty and versatility of
Anthony Perre’s vocals. I imagine there will be
a deluge of videos for these tunes in tow, or at
least I’m hoping so. On their second record, DAISY
maintains focus and definitely sets a trajectory
toward more hit-oriented territory. See them live
for a brilliant introduction.
The Woodworks have been one of the hardestrocking
and hardest-working indie bands in town for
many years, with three full-length albums. Au Naturel
messes with that formula, being their first EP and a
fairly acoustic affair. Due to its more delicate nature,
this record becomes a showcase for lead singer Solo
Lounsbury’s vocals.
“Anthem of a Complex Creature” is the opening
track, and all it takes is the fiddle work of Kevin
Wiscombe to make Lounsbury’s guitar, Konstantin
Bosch’s percussion and Steve Beer’s bass instantly
sound like gypsy rock to rival Gogol Bordello.
This has always been kind of hinted at on other
records, but they totally go for it here. The downhome
dirge of “Draggin’,” from 2014’s Safe Mode,
feels like a modern take on “In the Pines” here,
with the mood it creates and the layers of sound.
Meanwhile, from that same album, “Oxytocin” gets
the jazzy funk treatment it’s always deserved, with
Kyle Woo of Banana Gun delivering some seductive
saxophone throughout.
Au Naturel concludes with “Rollin’,” which starts
as a percussion wonderland before it reaches
vocal nirvana—featuring most of Manic Monkeys,
with Mike and Tiffany Hilstrom and Joel Ekdahl, in
addition to Japhy Ryder, Danger Paul and Anthony
Fama. It’s essentially a Tempe indie rock revival choir,
or at least it sounds like one. This is an exquisitely
Arizona-drenched track that approaches authentic
desert rock. On this four-track gem, the Woodworks
prove that they can do whatever they want with
whatever they’ve got—whether as electrified rockers
or down-home gypsy dancers—and the results are
always compelling and addictive.
Sometimes an artist’s third record becomes known
as the “departure point,” and this seems to be the
case with Taylor Upsahl’s stunning Unfamiliar Light
EP. It turns in a more alternative direction, while not
entirely leaving the singer/songwriter’s signature
behind. On this record, Taylor Upsahl goes simply by
Upsahl and is backed by a full band featuring Dale
Goodman, Anthony Germinaro, Rachel Rinsema,
Dylan Spitler and Ryan Upsahl.
The stunning vocals are about the only familiar thing
here. Otherwise, it’s the intoxicating rhythms and
dizzying guitar that explodes from “Digital Papers”
that lets you know that Upsahl is exerting creative
vision. “Everlasting Trip” has an almost surf-rock
vibe to it, with a Spector wall of sound effect at
work here. “XVII” is a serious piano instrumental
with classical overtones throughout its 84 seconds,
the title celebrating Upsahl’s age. It leads into
the cleverly titled “Good News for Bad People,”
the centerpiece of the record and one of its finest
compositions. Between the mesmerizing piano line
and Upsahl’s easy-on-the-soul vocals, it’s easy to lose
your place in time during this one.
“Miss Leader” is a softer, acoustic number and
a little more familiar territory for Upsahl’s voice.
“Rotations” picks up the pace with a guitar line that
Johnny Marr might be jealous of, even though it has
a bit of Southwestern twang to it. There is an Arizona
highway vibe built into this tune, which should
probably be licensed to David Lynch immediately.
The EP finishes with “Overdrive,” a quirky acoustic
number, but with a haunting arrangement. This record
is a turning point for Upsahl, and it will be interesting
to see what’s next.
32 JAVA
MAGAZINE
Sounds Around Town By Mitchell L. Hillman