Java.Dec.2.2015

TOBIE MILFORD
Listen to the Trees Grow
DINERS
It’s All True EP
DAY BEFORE PLASTICS
Explosive Sadness
Listening to the music of Tobie Milford is something
akin to treating your ears to a luxury item. He is one
of the few local musicians whom I have referred to
as genius. After hearing Listen to the Trees Grow,
his first album in five years, I feel that sentiment
holds true. Unlike in his debut, Milford is not exactly
flying solo. He is joined by some of the best and the
brightest classically trained musicians in Phoenix.
This lineup includes Mark Michaud (percussion and
recording), Chris Kasych (studio trickery) and the
Downtown Chamber Series musicians Leslie Frey
Anderegg and Megyn Neff on violin, Mark Dix on
viola and Peter Lorenzo Anderegg on cello.
Milford’s looping violin is no longer the centerpiece
of his work, and he has now turned to concentrate
on vocals and keys. The album shows his growth
since the release of 2010’s Alyosha, not only as a
musician and composer but also as a human being.
This is some of the most high-minded music I’ve
come across all year and beautifully arranged, which
makes it clear why it’s taken five years for this
album to follow his debut. I’d have it no other way,
and I’d happily wait another five years for another
installment of beauty, vulnerability and reflection
through Milford’s stunning vision.
I sincerely hope we don’t have to wait that long. Still,
this is one album that may last through the ages—
chronicling the terror and beauty of a man facing
adulthood, whether in the opener, “Fear of Music,”
in which he accepts music as his path, or “Doctor,”
which tells the story of his mother’s wish for him to
practice medicine. “Gepetto” is filled with self-doubt,
and the majestic “Queen Isabella” tells stories of
Milford’s own self-discovery. At times it feels like he
is cleansing his soul on record, yet the sheer beauty
and vision of his songs cleanse yours, as well.
This month I’d planned on writing a feature-length
review of Diners III, as I had been following the
demos posted throughout 2015. The album isn’t
ready yet, but Diners have offered up a five-track
EP called It’s All True, with two super-solid singles,
and it totally satisfies my craving for their brand of
indie pop. According to Tyler Broderick, the EP was
“mostly put together with songs originally intended
for my upcoming album, III. Recording sessions were
farther apart than what I had hoped for, but in the
end I believe it was great practice in listening and in
imagination!”
That definitely comes across on It’s All True. The
songs are short and sweet, while exploring more
territory in sound than they’ve approached before.
Just listen to the intro track, “Really Wanna Know,”
and get lost in its wizardry for the 80 seconds. The
single-worthy “Must Be Nice” sounds as if post–Pet
Sounds Beach Boys had made a slightly snarky song
about jealousy, and every second of it is an absolute
blast. Meanwhile, “My House” sounds like postgrunge
indie pop straight out of the mid-1990s—like
a lost single on a K Records 45. “Only You” would be
another serious consideration for a single and has
such a childlike charm about it, perfectly summing up
the total elation and yearning of a wonderful crush.
The brief EP finishes with “Speaks to Me,” a song
I wish was longer just so my ears could hold on to
this record just a little longer. A beautiful, diminutive
finale, it makes you crave more, and yet it totally sets
the soul at ease. With Diners I’ll take anything I can
get, and this 7-inch EP is a perfect pop gem. I hope
that next year III will be released and I can dig into
their sunshiney vibe track by track.
Sounds Around Town By Mitchell L. Hillman
Day Before Plastics has been one of my favorite live
bands in Arizona since the release of their debut EP,
Physical Garbage, well over a year ago. Their followup,
Explosive Sadness, shows so much growth that
it’s mind blowing. Their debut was one of my favorite
EPs of last year, but now it seems like a mere shadow
compared to the new album. This isn’t just about
quality production but song writing, composition—
everything. It’s clear the amount of shows they’ve
played have benefitted them tremendously.
The singles “Space Beach” and “Papaver” previewed
the album nicely but couldn’t really show how it
would come together so brilliantly in the end. The
stunning “Electric City” starts the record, which is
another single in the waiting, with a sound I never
would have expected in their catalog. Stylistically,
Day Before Plastics are all over the place, from
explosive pop to indie rock to country tunes of
sadness. In some respects, you wouldn’t even
know this was the same band as in their debut. It
seems to be their intention to create something of
a schizophrenic contrast between songs, or even
between the upbeat songs and their lyrics.
Still, Explosive Sadness is filled with instant classics,
including the aforementioned songs, but also the
Dylanesque “Little Darling” or the live favorite
“Dog” or the country-style flared finish of “Break My
Heart.” The band has never sounded better, and their
song writing has grown beautifully intense. This is
the sound of a band coming into its own, and it’s
fantastic to listen to. I can’t wait to see what’s next
from one of the most talented crews in town.
For more on these events and other highlights of
the Phoenix music scene, check out Mitchell’s blog
at http://soundsaroundtown.net. For submissions
or suggestions contact him at mitchell@
soundsaroundtown.net
JAVA 33
MAGAZINE