ARTIST: Crash City Saints
RELEASE: Are You Free?
RELEASE DATE: 11th August 2017
RECORD COMPANY: Saint Marie Records
From the city of Kalamazoo, Michigan (apparently it’s across from Milwaukee, over Lake Michigan) comes 'Crash City Saints' and the interestingly bold and grand concept album they have created, entitled 'Are You Free?'. Released via the ever interesting 'Saint Marie Records' (whose back catalogue includes the impressive SPC ECO, Bloody Knives and The History of Colour TV), 'Are You Free?' tells the story of a boys attempts to mature and bloom in a small town in the 90’s when shoegaze was dense and on rotation in the mainstream and underground of the American music scene. 'Crash City Saints' have obviously utilized said music from the time and adopted it into a mix of shoegaze and alt-rock to tell a story over the course of twelve tracks that hails the significance of influence while also celebrating the freedom of originality in the context of modern music. 'Are You Free?' was released back on the 11th August 2017 and is available right now to buy/download on various formats via saintmarierecords.bandcamp.com
Are You Free? by Crash City Saints
The album opens with ‘Ice Cream’ a nice little jolt of pop-based alternative rock that highlights the hushed MBV style vocalisations and strumming acoustic guitar. There are several fantastic moments, including the churning-downtrodden shoegaze riffs that are touched upon at around the one minute thirty mark, as well as a tasteful string instrument in the background of the music. ‘Spring Lines’ owes more to a soft kind of neo-grunge rather than shoegaze, but nevertheless showcases the instrumentation and weave in-out aesthetic of the guitars. As it is on much of the album, the drumming is tight and impressive; highlighted sufficiently and smoothly in the mix. ‘Weirdos Need Love To’ fits in well as a kind of interlude between the narrative structure of the main songs whilst 'Use Once Then Dispose’ is an absolute album highlight; the post-punk double tap snare and 90’s inspired guitars meld fanatically together to create a rock-inspired atmosphere; the vocals hum away, touching on lyrically much darker themes than have been explored previously on the album. That’s not to say they are not well written, actually it’s quite the opposite. ‘Spirit Photography’ is a smooth, aesthetically enjoyable take on what sounds like 90’s era Brit-pop, while also (eventually) smothering the track in Shoegaze based guitar freak-outs. A very enjoyable experimental track, ‘Spirit Photography’ sheds the skin of the previous songs pop elements; making way for emotive and warped guitar based-psych passages of song writing. I assume ‘Act 2’ is named as such because it brings forth another stage of story and narrative; either way, as a song it feels one of little narrative importance (lyrics are drowned out in a vocal effects) while the whole song takes an almost lo-fi quality (not complaining).
‘Dawn of A Bright New Nothing’ introduces a fantastic Barrett-esque piano line into the mix, making the song one of the most purely enjoyable on the album. Yes, that’s right, this reviewer has significantly enjoyed a song because it sounds, is mixed and feels nice and relaxed. ‘Annabella’ returns to a much more alternative rock sound, the chord progression of the bass and guitar highlighting a progressive rock influence that played an integral role in the development of shoegaze music back in the 90’s. Its outro, featuring a guitar solo over the vocal chant/hum ‘you don’t know my name’ is particularly satisfying. Another interlude follows before one of the longest tracks of the album ‘The Hour Of The Wolf’ opens with a sequencer based EDM style sound. Although this aforementioned beat grows tiring after a while, this doesn’t cease the track from growing into a heavy, loud and colourful collection of sounds and noise, backed by the thrashing of the drums. The outro guitar picking is especially amazing and very much in-context of the seven minute long song. The following dream-pop based ‘Harbour Lights’ remains a sonic (but almost as equally lengthy) contrast to the previous wild melding’s of ‘The Hour Of The Wolf’. In fact, ‘Harbour Lights’ is an album highlight: the guitar tones and overall atmosphere of the song congregate into a dream pop/shoegaze breath of fresh air after the previous songs noise and drenched soundscapes.
Releasing a concept album of any type is a big and daring leap. Will people be able to detail the story (if the concept is narrative)? Will the story get in the way of the music? What about the other way around? 'Crash City Saints' have previously stated there is a narrative kind of concept behind the album, and at times while listening to 'Are You Free?' I was lost as to what (if anything) was actually going on, but then I realized that its concept lies beyond the realm of just a narrative. Over the course of the album the band swiftly (and at times intellectually subtly) incorporate and throw influence and nods to the American music underground of the nineties. There's grunge, dreampop, alt-rock, dance and electronica, shoegaze and many more… This album is a musical exploration in concept rather than a boring ‘he does this, then she does that’ kind of structure that tends to drag down and drown many ‘concept’ albums. The song writing is strong, although at times relies too heavily on formulas used on previous songs, even if it is a kind of throwback. The mixing and production (done so by Elliott Frazier of Ringo Deathstarr) is of course a brilliant, but also (if you listen to a lot of it) a well-rounded and respectful throwback to the music of the 90’s. Listen for an interesting story (accompianed and helped along by interesting lyrics), great instrumentation and playing, and a reminder of the brilliant and nostalgic music of a few decades ago, achieved through production, mixing and sound.
ABOUT THE AUTHOR:
Cam Phillips is a writer and above all, a music lover, who seeks to gain experience through writing and listening. He is also an avid film viewer and art and literature junkie who enjoys creative writing. His most recent published work was featured on Baeble Music and Culture (USA), Sounds and Colours Magazine (Latin America, London), Easterndaze (Latvia) and the Australian based heavy music blog, I Probably Hate Your Band.
by Primal Music
Shoegazers of the world are coming together here in Shoegazer Sanctuary! We are a growing Music Sharing Group located on Facebook. Our group is made up of hundreds of amazing Shoegazers (members) and our passion is Shoegaze! Sharing it, chatting about it & just plain hanging out with people who love the same music. It seems that close proximity in demographics does not support enough shoegazers, everyone who shares a common love for shoegaze is too spread out all over the world for that matter. That is where Shoegazer Sanctuary comes in. We will always be here for anyone who loves Shoegaze and wants to be part of one of the first world renowned Shoegazing groups maintained on social media.
We share music from such bands as the ones that have recently reunited: Slowdive, Ride & Jesus and Mary Chain & bands that are currently on tour like No Joy, Savage Sister, Swervedriver, Stella Diana, Clustersun, Chatham Rise, 93 Million Miles From The Sun and Whirr. Lets not forget the bands that time has other wise buried like: Astral, Colfax Abbey, South Pacific, Film School, Here, Feral and Ultra Cherry Violet, just to name a few in each category. These are just a fraction of the bands that you will find. You can also learn about some of the history of shoegaze through links we have provided to web sites such as: www.reddit.com/r/shoegaze/wiki/index
An interesting read on a recent eye-opening documentary called Beautiful Noise about the genre explains how without the emergence of Shoegaze back in the mid to late 1980's out of the United Kingdom many of the bands we love today most likely would not exist. Interesting quote from the article below a must read for any fan of Shoegaze:
"Shoegaze’s greatest legacy in music was the notion that guitar-driven music can be an Impressionist painting, which, through layers of effects and buried vocals, can be so amorphous that the only true interpretation comes from the mind of each individual listener."
Group members are treated like gold in Shoegazer Sanctuary because they are the reason this is all happening here on Facebook. For example, our next guest playlist is comprised of shoegaze songs that actual Shoegazer Sanctuary members individually selected. Our motto here in SS is "Love The Music" so come on in and see what we mean. We are sharing current music, re-discovering and discovering tons of bands, every day, 24 hours a day!
Below are 21 tracks chosen by some of the members of Shoegazer Sanctuary for this playlist:
1. NOTHING - "B&E" - Selected By Josh Snover
2. THE ECSTASY OF SAINT THERESA - "WHAT'S" - Selected By Joseph Kennedy
3. TUATH - "UISCE, UISCE, READ ALL ABOUT IT" - Selected By Shauna McLarnon
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4. CRASH CITY SAINTS - "TEENAGE CRIME WAVE" - Selected by Micheal Cady
5. RINGO DEATHSTAR - "FLOWER POWER" - Selected By Joe Justice
6. SPACE WAVES - "SUN SHAPED FlOOR" - Selected By Sarah Spacewaves
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7. SOUNDS OF SPUTNIK - "LIGHT SCHEME feat. UMMAGMA" - Selected By Jonathan Rauhio
8. INDOOR VOICES - "WHAT CAN I feat. ALISHA ERAO - Selected By Rebecca Leonard
9. SLEEPER - "CLOSE YOUR EYES" - Selected By Ben Seth
10. RIDE - "DRIVE BLIND" - Selected By Dave Parker
11. FOXTAIL SOMERSAULT - "SUGARCUBES BIRTHDAY" (cover) - Selected By David Loop
12. LA CASA AL MARE - "M" - Selected By Patrice Gutschenritter
13. WHIRR - "SWAY" - Selected By Zamian Martin
14. BLACK HEARTED BROTHER - "I DON'T MEAN TO WANDER" - Selected By Rubens Curado
15. FLYING SAUCER ATTACK - "OCEANS" - Selected By Romeo Mic
16. BE FOREST - "LOST BOY" - Selected By Fabrizio Lusso
17. Static Daydream - "THE ONLY ONE" - Selected By Samuel Taylor
18. TEARS RUN RINGS - "A QUESTION AND AN ANSWER" - Selected By Warren Radnan
19. VENERA 4 - "BLACK PAWS" - Selected by Chris Tressler
20. PINKSHINYULTRABAST - "BLASTER" - Selected By Novas Pares Valenzu
21. MY BLOODY VALENTINE - "COME IN ALONE" - Selected By Richard Stott