The music itself matches these sentiments with an emotional candor and an execution that suggests these songs live in their muscles after long hours of woodshedding. “There’s so many days in a year/ And there’s so many years in my head.” “Anybody who makes something new only breaks something else.” “Love is not convenient/ It does not cease at your command.” “Oh, my dreams did not come true, no, they only came apart.” “The only thing that’s scarier than dying is not dying at all.” “You can judge the whole world on the sparkle you think that it lacks/ You can stare into the abyss but it’s staring right back.” But shit, some are born with eyes to see and we’re fools to refuse insight when it lands in our laps. These tunes are infinitely quotable, too, and chock-a-block with everyday wisdom well beyond their age. North Hills is gorgeously and warmly produced by one of Los Angeles secret weapon, Joanthan Wilson, and the sense of music being made by human hands, free from overt manipulation and focused on songwriting and well honed musicianship, permeates the proceedings. Close your eyes and you can easily conjure up Taylor Goldsmith (guitar, vocals), Tay Straithairn (piano, keys), Griffin Goldsmith (drums) and Wylie Gelber (bass) huddled close in a small room working up these tunes. Part of Dawes appeal is the live-in-your-ears feel of this set. She saw the city’s promise reaching through my eyes The opening verse paints a scene in a manner that oddly recalls Steely Dan, with Dawes sharing that band’s knack for miniature cinematic touches throughout this debut:Īll the birds, the trees, the falling snow Opener “That Western Skyline” emerges with the patience and split open honesty of Manuel/Dylan’s “Tears of Rage.” Delivered in voices cracked by loss and painful reflection, the song moves deliberately and brilliantly towards a church-like release in its final stretch, where their harmonies grasp at the sky and heart with stirring efficiency. I’ll put money down that North Hills (released September 29 on ATO), the debut from SoCal’s Dawes, is a future classic waiting to happen. An admirable goal, especially within a genre noted for its ephemeral nature, and it usually doesn’t take long when the needle hits the groove for one to figure out who’s the real deal and who’s a chart chasin’ chump. In 2009 we forget that The Band’s Music From Big Pink and Big Star’s #1 Record were just the initial spark of young men determined to craft music for the ages. Given the iconic nature of certain albums it’s easy to forget that they were once simply new releases, a fresh sound that refurbishes what we thought old and worn.
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