Essay Review of the Band Periphery and Their Album Clear

Their first release is a “self-titled” EP with five songs on it–with all them being sort of different, but cohesive; and so there might be something for every indie-lover. My personal favorite is track 3 “Fishes”. Something about that opening guitar line takes me back to the days when I would pull obscure albums

The production is interesting as usual with songs like "Dang!", "Stay", "Cinderella", "We" etc. The features on this album blow away anything that was on GO:OD AM. Ty Dolla $ign, Anderson.Paak, Cee-Lo Green, Ariana Grande and Kendrick Lamar all do pretty solid jobs on where they are placed. That is also the other great thing about the features, they are placed so much better than the features on GO:OD AM. We also didn't have to hear another Ab-Soul (Lil Uzi Vert is more interesting than him just to point that out).

The latter sets immediately the groove on “Convulsive”, an unhurried, impeccably harmonized piece that boasts a certain ambiguity in its thoughtful splendor, making us search throughout. It’s all about color and texture and almost never

I feel worthless cause my shirt wasn’t matching my gear/ I’m just scratching the surface/ cause what’s buried under there/ is a kid torn apart once his pop disappeared/ I went to school/ got good grades/ could behave when I wanted/ but I had demons deep inside/ that were raised when confronted/…Now all the teachers couldn’t reach me/ and my momma couldn’t beat me hard enough/ to match the pain of my pop not seeing me so/ with that disdain in my membrane/ got on my pimp game/ f*** the world/ my defense came/ (December 4th)

“The Absolute Outmost (No. 52)” features Susan Alcorn playing her pedal guitar steel in a meditative way. Halvorson, opting for unusual sounds, and John Hébért, who bows the bass accordingly, join her until the fourth minute, time when the reeds erupt and a flamboyant rhythm is installed. Ingrid Laubrock excels with a portentous solo that encompasses melodious lines, hints of bop phrasing, and explosive temper.

The record ends with “Legacy”, another magnetic experimentation that will certainly be appreciated by the fans of Dave Douglas’ compositional style and powerful instrumentation.

The remaining songs in the concerts were original songs that the band wrote and songs that were coming out on their debut EP. The first original song played was the song “Same Old Thing”. This song had a polyphonic texture between the guitar and the piano and had a fast tempo. One of the motifs in this song was very catchy and was repeated a couple times. This song was short and had a steady rhythm. The dynamics of this song were good because the tones were not too soft or too loud. The melody had a bright and warm mood that matched the atmosphere of the club. All the instruments blended beautifully which resulted in a great harmony. I felt like the drumming on this song made the song complete.

Additionally, each note was exact and accurate, as well as the rhythms. Each individual solo was flawless with precise entrances. All instruments executed nice releases with no sloppy sounds or breathing. Each player seemed to master interpreting articulations because

The English brothers have created a name for themselves within the past few years through their collaborations with some of pops biggest names, (Lorde, Sam Smith) as well as solid tracks featuring their own uniquely smooth sound. Mixing dance and pop, their futuristic sound helps stand out in the otherwise saturated EDM field. With the lack of obnoxious drops and more of a focus on overall production and vocals, Disclosure’s music can appeal to those who aren’t the biggest fans of dance or pop music. Give their 2013 album Settle a listen, focusing on key tracks such as ‘When A Fire Starts to Burn,’ ‘Grab Her!’ and ‘White Noise’ feat.

Though the influences that contribute to the undertones of each album may vary, they still draw mainly from their primary influences. In addition, across all of their albums, they sustain their reputation for the moody, almost brooding element of their music. Regardless of which album someone should choose to listen to, that distinct ‘Warpaint’ ambiance is there on both of them.

As mentioned previously, the eclecticism of his music is inarguably Kevin’s greatest success. Over forty-eight minutes, the man dips his toes into bitter country music, spoken word poetry, fuzz driven indie, and even an excursion into Lorde-like minimalism. Each of these songs has their own identity. “1234” is the unashamed four to the floor throwback to garage rock from days of yore. It’s noisy and messy with these hypnotic looping vocal tics which culminate in

It’s really in a genre of its own. I’m thoroughly impressed with their talent – which really shines through this album.

The opening tune, “Shake Loose” pulses with hypnotic rhythmic chops and feels simultaneously urban and futuristic. With strong influences of pop-rock, jazz, and electronic music, the quartet proliferates a penetrating tension that remains elevated until its release through expansive harmonic progressions and the attractive melody of the chorus.

It’s arguably the “banger” of the album and less of a social commentary than a sneak peeks into a troubled part of St. Vincent’s life, according to Clark herself. Next, comes the title song: “Masseduction”.

The production is clean and understated, letting Womack's stunning vocal and the great lyric take center stage. Excellence deserves to be