Steve Henderson
06/26/06, 12:24 PM
Edison Glass - A Burn or a Shiver
Release Date: April 4, 2006
Record Label: Credential Recordings
So far, this year has been (in a sense) one big juxtaposition. Expectations for larger bands and their related releases have fallen short in many respects, while previously unknown bands continue to break through and release impressive offerings to a somewhat unsuspecting public. Now, it could be argued that the new-wave distribution of indie resources has helped facilitate this - with lesser-known bands entering more established studios with well-known producers and the like, but I would actually argue along a different line of thought. I think today's indie music scene is getting to the point where it is sustaining itself, with artists learning and borrowing from one another, but at the same time, creating something wholly compelling they can still call their own. Along these lines, Edison Glass has released A Burn or a Shiver, which is an exclamatory trumpet announcing the arrival of a band that is surely destined for success.
As a band, Edison Glass has a sound that is both familiar and novel - they essentially borrow snippets from other scene players and mash them up in a musical martini shaker that redistributes the influences behind equal veils of originality and tribute. A dissection of this newly created animal reveals some irrefutably strong components - the dueling full-voice tradeoffs/harmonies of Just Surrender (in style only - Edison Glass refreshingly nixes any shades angst), the high-pitched smooth vocals of Circa Survive, Copeland-ish layered falsettos, the ambient, progressive guitar lines of Controlling the Famous or The Kidcrash, and the quasi-Christian lyrics of Mute Math. When these puzzle pieces are all tossed into the mixer, though, the result is still surprisingly fresh, avoiding the stale scent of plagiarism, and hands down a distinct overall sound that can now be identified as simply that of Edison Glass.
The band, while obviously technically proficient, with its headphone-friendly riffs and perennially on-key vocals, is just as impressive in its ability to craft its own brand of deep enough, yet radio-ready math-pop. I have always wondered what The Kidcrash or Controlling the Famous might sound like if they had traditionally appealing vocalists, and embraced the power of the almighty hook. I am guessing (after a few trips to church) that the result would end up sounding something like Edison Glass. From the dance-inspiring bounce of "My Fair One" to the driving, soaring swagger of "Forever," and on into the twinkling guitar clinic of "Starlight" (replete with flashes of Aaron Marsh-style vocal homage), the boys have a fine grasp on how to construct a song that does a dandy job of showing off their skills on their respective instruments as well as the ease with which they exude their potential for mainstream success. These fine elements all culminate with the fan-favorite "In Such a State" - a song that welds together Edison Glass's plural wandering vocal lines with a set of urgent, wandering guitar threads, coming to a head with an undeniably catchy chorus.
In the end, Edison Glass is an excellent new talent. While they marinade their tracks in a little too much Jesus-talk for my liking, the end result is not beyond the appeal threshold of any agnostic or atheist in the least. The lyrics are usually swathed in that nebulous, pronoun-heavy style that leaves the door open to "interpretation" for the less-spiritually-minded of us, but will still shine through to the most devout as well. It will be interesting to see where this band goes in the future - it really could be anywhere. But with their obvious talent and apparent structure of beliefs, it would seem to me that Tooth and Nail has its next signing wrapped up in a ready-made package.
Copeland, Circa Survive, Controlling the Famous, Daphne Loves Derby, Nural, Sanctus Real
Release Date: April 4, 2006
Record Label: Credential Recordings
So far, this year has been (in a sense) one big juxtaposition. Expectations for larger bands and their related releases have fallen short in many respects, while previously unknown bands continue to break through and release impressive offerings to a somewhat unsuspecting public. Now, it could be argued that the new-wave distribution of indie resources has helped facilitate this - with lesser-known bands entering more established studios with well-known producers and the like, but I would actually argue along a different line of thought. I think today's indie music scene is getting to the point where it is sustaining itself, with artists learning and borrowing from one another, but at the same time, creating something wholly compelling they can still call their own. Along these lines, Edison Glass has released A Burn or a Shiver, which is an exclamatory trumpet announcing the arrival of a band that is surely destined for success.
As a band, Edison Glass has a sound that is both familiar and novel - they essentially borrow snippets from other scene players and mash them up in a musical martini shaker that redistributes the influences behind equal veils of originality and tribute. A dissection of this newly created animal reveals some irrefutably strong components - the dueling full-voice tradeoffs/harmonies of Just Surrender (in style only - Edison Glass refreshingly nixes any shades angst), the high-pitched smooth vocals of Circa Survive, Copeland-ish layered falsettos, the ambient, progressive guitar lines of Controlling the Famous or The Kidcrash, and the quasi-Christian lyrics of Mute Math. When these puzzle pieces are all tossed into the mixer, though, the result is still surprisingly fresh, avoiding the stale scent of plagiarism, and hands down a distinct overall sound that can now be identified as simply that of Edison Glass.
The band, while obviously technically proficient, with its headphone-friendly riffs and perennially on-key vocals, is just as impressive in its ability to craft its own brand of deep enough, yet radio-ready math-pop. I have always wondered what The Kidcrash or Controlling the Famous might sound like if they had traditionally appealing vocalists, and embraced the power of the almighty hook. I am guessing (after a few trips to church) that the result would end up sounding something like Edison Glass. From the dance-inspiring bounce of "My Fair One" to the driving, soaring swagger of "Forever," and on into the twinkling guitar clinic of "Starlight" (replete with flashes of Aaron Marsh-style vocal homage), the boys have a fine grasp on how to construct a song that does a dandy job of showing off their skills on their respective instruments as well as the ease with which they exude their potential for mainstream success. These fine elements all culminate with the fan-favorite "In Such a State" - a song that welds together Edison Glass's plural wandering vocal lines with a set of urgent, wandering guitar threads, coming to a head with an undeniably catchy chorus.
In the end, Edison Glass is an excellent new talent. While they marinade their tracks in a little too much Jesus-talk for my liking, the end result is not beyond the appeal threshold of any agnostic or atheist in the least. The lyrics are usually swathed in that nebulous, pronoun-heavy style that leaves the door open to "interpretation" for the less-spiritually-minded of us, but will still shine through to the most devout as well. It will be interesting to see where this band goes in the future - it really could be anywhere. But with their obvious talent and apparent structure of beliefs, it would seem to me that Tooth and Nail has its next signing wrapped up in a ready-made package.
Copeland, Circa Survive, Controlling the Famous, Daphne Loves Derby, Nural, Sanctus Real