Monuments

I did not die, I did not die,” says Gabriel Berezin, singer/guitarist of Brooklyn’s Monuments, in reference to his inspiration for the band’s name. “The first song we wrote had the word Monuments in it. It was about a day I was late for work on September 11th,” says Gabriel, halfway somber and halfway jesting.

As Gabriel explains to me, he was running late for work, late enough to witness a plane fly into his building – which just happened to be the World Trade Center. As harrowing of an experience as that might have been, Gabriel used it to start something great – Monuments.

Although Monuments have been a band for almost ten years, the current line-up, consisting of Grant Zubritsky on bass/keyboards, Kevin Plessner on lead guitar, Mike Cook on drums, and Gabriel Berezin on guitar/vocals, has only been in place for two years.

Once this line-up came together, the sound of Monuments started to take shape. “We sort of had to figure out how we sound,” says Kevin about the genesis of the band.

Monuments is a lot more than just Gabriel’s experiences on 9/11 though. The band is about an ongoing conversation between musicians who sound more like four philosophers when they interact.

“The philosophical exchange, what we’re doing right now, is a part of the songwriting process and a part of what we do in everyday life,” says Kevin, “We probably butt heads a fair amount, but I like that because it makes what we do more interesting,” adds Gabriel.

Monuments gets the seriousness of their talk though, so it makes sense when Gabe jokingly describes part of their song writing process as, “Here’s some ideas, let’s fuck around with it.”

Chipping away at ideas and taking time to figure out exactly what sounds right is part of the process for Monuments, and their songs reflect that. “You’re working on an idea that someone brought in, and you take it out a little bit and jam on it and that’s where the cool parts start to come out,” says Grant about the process of working on new material.

Listening to Monuments begins to speak to Grant’s idea. Multi-layered and full of texture, songs like, ‘The Believer’, sound journeys that beg to be taken. And, the rewards are many if you let Monuments music wash over you. The payoffs in each song reflect the high amount of thought put into them.

Hearing the band reflect on their motivations behind different songs, you can sense their cerebral nature. Songs like ‘Silver Star’ sound like a rocket taking off in the midst of a fireworks celebration, but Monuments wanted the listener to get that. “You’re trying to paint an image of your sub-conscious,” says Kevin in reference to their song, “There is this feeling of Fourth of July, and that was something we [wanted to push].”

As much thought as Monuments puts into their work, they aren’t content to simply noodle their instruments and stare at the wall during live shows. “We structure our music so much, but when we’re on stage we kind of just say, ‘Just go,’” says Gabe, “[We didn’t want] things to start to feel like we just playing songs, we’re putting on a live performance,” says Grant.

Even with all the thought Monuments puts into their work, the members know they haven’t come close to their peak. “Right now it’s all about songs,” says Kevin “[We] want to make a piece of art that people want to talk about.”

When asked about their future work, Monuments offer a few pieces of insight about what listeners can expect. “I’m not sure we even know what to expect anymore, everything is very chaotic, but that’s a good thing,” says Gabriel.

Even if the members of Monuments can’t say exactly where they’ll be going, they can all agree that they are approaching a point where their music will truly, for lack a better term, blast off. “We’re getting to a place where we’re going to nail this album,” says Gabriel, “And then just crush tours.”

Do yourself a favor and check out Monuments, they are a ride very much worth taking.

Check out Monuments here. Monuments is playing at McGann’s in Boston on 3/12, at The Fire in Philadelphia on 3/18, and at Cake Shop in New York City on 3/19. - Blaqbook

"Berezin is a clever and tasteful guitar player and uses a unique pedal arrangement to sample, loop, and drone guitar and vocal phrases. The result alternates between a pleasantly psychedelic vibe and a driving rock groove while waxing poetic about such weighty topics as fate, cults, modern relationships, and lucid dreaming. The real draw though is his powerful yet delicate voice, which can silence a room of any size. He's also a pretty funny guy during his live shows, so he's the full entertainer package." - The Village Voice

With a certain level of observant intellect infused in their lyrics, Brooklyn's Monuments already stand out among the lovesick pop singers and hopefuls looking to make their music as hooky as possible. That thoughtfulness, paired with the deep lapping of guitars and echoing vocals Monuments brings to the table makes the band's self-titled album play with an intimacy that isn't often found in first releases. Full of songs that question fate and the effect it has on all of us, Monuments belt, strum and crash through this album in a way that is hauntingly invigorating.

The album and creation of the band itself are largely based on the creative epiphany frontman and actor Gabriel Berezin had after narrowly escaping the tragic fate of those at the World Trade Center on September 11th, where he was temping in a 97th floor office. The nine-track album begins with a frantic rolling of percussion, steadily building its momentum with support from a chugging bass line before spilling into a set of low vocals. "Silver Star" teeters between floating and forceful, pulling in elements of both contemporary and classic rock. The crackling distortion in its background gently fades to the folksy acoustic and hand drum intro to "White Flag," a transitory device repeatedly found throughout the album. There is no doubt that the somewhat ghostly sound of Monuments is expertly executed, but it is that very sense of precision that is also one of the band's faults. While each song on this album starts out strongly with a unique intro and ends in a memorable way, like the mournful wail of the guitar in "Trust Fund Fuck Baby," the time between those spurts of inspiration is all together forgettable. For a debut full-length, the band's well-honed style is impressive at first, though quickly starts to sound more like a band stuck in a rut than a gang of fresh-faced newcomers.

However, in some instances the similarities in the album's tracks are favorable. The slight flatness in the guitar's tuning found in "Not My Own" denotes a feeling that something is amiss; it also works its way into "I'm Here Now," the track that seems to best describe Berezin's 9/11 experience. "I'm Here Now" is also responsible for delivering the band name inspiring line, "Monuments they sway," a song demoed by Berezin sometime before Monuments the band officially existed. That same eerie feeling of the previous track follows its listener into the next song, "The Believer," as its gentle intro is split down the middle by an echoing screech of guitar and Berezin's perfect belt.

"Expectations" is a standout; an aggressive combination of gritty guitars and rimshot percussion blend into the band's starry sound, giving this track a different sense of urgency than others. That same pugnacious approach continues in the final track of Monuments, where Berezin sounds like he's singing from a drainpipe with the band droning on behind him somewhere in the dark corners of New York. The fuzzy instrumentals build into a crescendo of rolling of cymbals, effectively amplifying the listener's adrenaline, but are cut short as their grungy sound drops out like someone has unplugged the stereo.

Though the pace never picks up beyond sway-worthy, Monuments gives off a definite sense of urgency as the album progresses, proving that the order of an album can be just as crucial as the basic content. With guitars that sound more like seraphic vessels meant to purge the player of darkness than merely manmade instruments and with a vocal that can only be described as a masterful belt, even in its weakest moments, this self-titled release marks Monuments as an act that is worth anticipating a follow up from. - Spectrum Culture

With a certain level of observant intellect infused in their lyrics, Brooklyn's Monuments already stand out among the lovesick pop singers and hopefuls looking to make their music as hooky as possible. That thoughtfulness, paired with the deep lapping of guitars and echoing vocals Monuments brings to the table makes the band's self-titled album play with an intimacy that isn't often found in first releases. Full of songs that question fate and the effect it has on all of us, Monuments belt, strum and crash through this album in a way that is hauntingly invigorating.

The album and creation of the band itself are largely based on the creative epiphany frontman and actor Gabriel Berezin had after narrowly escaping the tragic fate of those at the World Trade Center on September 11th, where he was temping in a 97th floor office. The nine-track album begins with a frantic rolling of percussion, steadily building its momentum with support from a chugging bass line before spilling into a set of low vocals. "Silver Star" teeters between floating and forceful, pulling in elements of both contemporary and classic rock. The crackling distortion in its background gently fades to the folksy acoustic and hand drum intro to "White Flag," a transitory device repeatedly found throughout the album. There is no doubt that the somewhat ghostly sound of Monuments is expertly executed, but it is that very sense of precision that is also one of the band's faults. While each song on this album starts out strongly with a unique intro and ends in a memorable way, like the mournful wail of the guitar in "Trust Fund Fuck Baby," the time between those spurts of inspiration is all together forgettable. For a debut full-length, the band's well-honed style is impressive at first, though quickly starts to sound more like a band stuck in a rut than a gang of fresh-faced newcomers.

However, in some instances the similarities in the album's tracks are favorable. The slight flatness in the guitar's tuning found in "Not My Own" denotes a feeling that something is amiss; it also works its way into "I'm Here Now," the track that seems to best describe Berezin's 9/11 experience. "I'm Here Now" is also responsible for delivering the band name inspiring line, "Monuments they sway," a song demoed by Berezin sometime before Monuments the band officially existed. That same eerie feeling of the previous track follows its listener into the next song, "The Believer," as its gentle intro is split down the middle by an echoing screech of guitar and Berezin's perfect belt.

"Expectations" is a standout; an aggressive combination of gritty guitars and rimshot percussion blend into the band's starry sound, giving this track a different sense of urgency than others. That same pugnacious approach continues in the final track of Monuments, where Berezin sounds like he's singing from a drainpipe with the band droning on behind him somewhere in the dark corners of New York. The fuzzy instrumentals build into a crescendo of rolling of cymbals, effectively amplifying the listener's adrenaline, but are cut short as their grungy sound drops out like someone has unplugged the stereo.

Though the pace never picks up beyond sway-worthy, Monuments gives off a definite sense of urgency as the album progresses, proving that the order of an album can be just as crucial as the basic content. With guitars that sound more like seraphic vessels meant to purge the player of darkness than merely manmade instruments and with a vocal that can only be described as a masterful belt, even in its weakest moments, this self-titled release marks Monuments as an act that is worth anticipating a follow up from. - Spectrum Culture

It sounds like Monuments' frontman Gabe Berezin recorded his vocals in a rainstorm. Or more appropriately: a hurricane, with Berezin standing in the eye, expending his lyrics with urgent clarity. The Brooklyn-based quartet's self-titled debut is rife with concentrated energy, reflecting years of development and camaraderie. "I'm Here Now" begins with Berezin's exposed voice over acoustic strumming, then soars as the band charges toward the song's gripping climax. As the aftereffects of their set dissipate into the atmosphere, you'll find yourself chilled, possibly desiring a cigarette, and hungry for more. - Beacon Pass

This BKNY quirtet is on to something here. I mean, you’ll definitely hear elements of bands like Radiohead and Muse on this s/t debut but they expand upon it with a heavy dynamic of low-end rumble, arpeggioed guitars , pounding drums and the passionate vocals of leader Gabriel Berezin. They could be huge. Check out “Not My Own” and “Silver Star’ for starters. - Daggerzine

Brooklyn-based quartet Monuments is touring in support of their self-titled LP. The solid theatrical debut is a concoction of Muse and Broken Social Scene with the sci-fi instrumentals of “Silver Star,” swooping vocals on “Not My Own,” the eerie guitar riffs of “Ice Pick Lobotomy,” and the heart-pounding percussion and acoustic guitar on “I’m Here Now,” an eerie retelling of lead singer Gabe Berezin’s near encounter with the World Trade Center attacks. - The Aquarian

"Nope, not the Motor City band of '60s vintage, not the UK skiffle outfit, nor the Depeche Mode tributeers. This version of Monuments—featuring Gabriel Berezin, Kevin Plessner, and Mike Cook–is one of Brooklyn's finest, miraculously so in a borough that overflows with artists. Somehow, some way, this is a great time for rock trios. And Gabe and 'nem are quite powerful, but its essence trends to subtle manipulations of space, the sort of attenuated twang that made Crazy Horse revered, and extending soulful harmonies far into the cosmos. Their full-length apparently won't sur - The Villiage Voice

"Nope, not the Motor City band of '60s vintage, not the UK skiffle outfit, nor the Depeche Mode tributeers. This version of Monuments—featuring Gabriel Berezin, Kevin Plessner, and Mike Cook–is one of Brooklyn's finest, miraculously so in a borough that overflows with artists. Somehow, some way, this is a great time for rock trios. And Gabe and 'nem are quite powerful, but its essence trends to subtle manipulations of space, the sort of attenuated twang that made Crazy Horse revered, and extending soulful harmonies far into the cosmos. Their full-length apparently won't sur - The Villiage Voice

Radiohead is the closest thing we have to a consensus act — a group nearly all the world’s indie rockers can (or could) agree on. The English quintet inspires its fans in profoundly different ways. For those musicians on the experimental fringe, Thom Yorke and company provide a blueprint for making the abstract accessible - even the most avant-garde artists have room on their record shelves for Kid A, Capitol Records logo be damned. On the other end of the spectrum, some more conventional bands see Radiohead as an invitation to stretch out and get a bit weird. In this second camp resides Monuments, a Brooklyn quartet that delights in bending and distorting what is fundamentally mainstream rock. The group opened Monday for buzzed-about Field Music offshoot The Week That Was, and despite playing to a sparse 7:30 p.m. crowd, the local group more than held its own.

Monuments, like the name suggests, aims for bigness. Front man Gabriel Berezin plays an acoustic guitar and sings clear, booming melodies. He’s the Bono of the bar bands, which makes guitarist Kevin Plessner his Edge. Plessner has mastered the chiming, spacious lead, but he’s equally adept at getting cryptic and cleverly filling the spaces left by Mike Cook’s mallet-driven drumming. Add in bassist Grant Zubritsky’s load-bearing rumble, and tunes such as “Not My Own” become wonky little epics—the kinds of pop songs few could begrudge. – Kenneth Partridge - The Deli

Radiohead is the closest thing we have to a consensus act — a group nearly all the world’s indie rockers can (or could) agree on. The English quintet inspires its fans in profoundly different ways. For those musicians on the experimental fringe, Thom Yorke and company provide a blueprint for making the abstract accessible - even the most avant-garde artists have room on their record shelves for Kid A, Capitol Records logo be damned. On the other end of the spectrum, some more conventional bands see Radiohead as an invitation to stretch out and get a bit weird. In this second camp resides Monuments, a Brooklyn quartet that delights in bending and distorting what is fundamentally mainstream rock. The group opened Monday for buzzed-about Field Music offshoot The Week That Was, and despite playing to a sparse 7:30 p.m. crowd, the local group more than held its own.

Monuments, like the name suggests, aims for bigness. Front man Gabriel Berezin plays an acoustic guitar and sings clear, booming melodies. He’s the Bono of the bar bands, which makes guitarist Kevin Plessner his Edge. Plessner has mastered the chiming, spacious lead, but he’s equally adept at getting cryptic and cleverly filling the spaces left by Mike Cook’s mallet-driven drumming. Add in bassist Grant Zubritsky’s load-bearing rumble, and tunes such as “Not My Own” become wonky little epics—the kinds of pop songs few could begrudge. – Kenneth Partridge - The Deli

Similar to the kind of fate Kurt Vonnegut referred to in Slaughterhouse Five that saved the meta-fiction writer during the fire bombings in Dresden during WWII, Monuments singer Gabriel Berezin has struggled daily with whether it was fate or just dumb luck that kept him from being incinerated on the 97th floor of World Trade Center 1 on September 11th. His girlfriend kept him in bed an extra half hour that morning. Whether it was in the cards or not, sex saved his life.

Monuments' self-titled debut explores the rage, paranoia, defiance, dissociation, cognitive dissonance, and flawed faith that lay in the embers of all that remained the day after. That time has long passed, but the statements made on this album continue to resonate.

The Brooklyn quartet aimed for big rock on their first full-length effort - massive 33" inch kick drums, aggressive grooves, throbbing fuzz bass, rolling percussion tracks, analog guitar delays that go on forever, and vocals tracked 30 feet from the mic that sound like they're whispered in your ear. They set out to achieve something massive and yielded something massively intimate.

While originating from the specificity of a singular, cataclysmic event, each song branches out into its own unique identity, expressing universal messages both lyrically and sonically.

As coined by the Village Voice, "check their brand of epic quiet now."

For the latest music, tour dates and more, go to:

Monuments Official Website
MySpace
Monuments Facebook
Monuments Twitter - Band Weblogs

Similar to the kind of fate Kurt Vonnegut referred to in Slaughterhouse Five that saved the meta-fiction writer during the fire bombings in Dresden during WWII, Monuments singer Gabriel Berezin has struggled daily with whether it was fate or just dumb luck that kept him from being incinerated on the 97th floor of World Trade Center 1 on September 11th. His girlfriend kept him in bed an extra half hour that morning. Whether it was in the cards or not, sex saved his life.

Monuments' self-titled debut explores the rage, paranoia, defiance, dissociation, cognitive dissonance, and flawed faith that lay in the embers of all that remained the day after. That time has long passed, but the statements made on this album continue to resonate.

The Brooklyn quartet aimed for big rock on their first full-length effort - massive 33" inch kick drums, aggressive grooves, throbbing fuzz bass, rolling percussion tracks, analog guitar delays that go on forever, and vocals tracked 30 feet from the mic that sound like they're whispered in your ear. They set out to achieve something massive and yielded something massively intimate.

While originating from the specificity of a singular, cataclysmic event, each song branches out into its own unique identity, expressing universal messages both lyrically and sonically.

As coined by the Village Voice, "check their brand of epic quiet now."

For the latest music, tour dates and more, go to:

Monuments Official Website
MySpace
Monuments Facebook
Monuments Twitter - Band Weblogs

With the ink still wet on the track listing of their spring released full length, Brooklyn band Monuments have been keeping themselves busy by touring around the northeast. The band knows that all work and no play makes Jack a dull boy (cue Jack Nicholson’s creepy face) not to mention a dull band, so the foursome has also taken on a new hobby, “We have all developed a bit of an addiction to sound making toys – I did a major overhaul of my rig, as has Kevin and Grant.” (Gabe Berezin)

With drummer Mike Cook pulling the bands name from a lyric on what is now track four of the band’s full length, “monuments they sway” was influenced in part by Gabe Berezin’s personal September 11th experience. “I guess it’s a bit of an extreme example of creation-out-of-destruction.” I had a temp job on the 97th floor of the World Trade Center. My girlfriend at the time made me late for work. I was otherwise planning on getting there early. Left our apt in the east village and heard a low flying plane going way too fast overhead. Had no idea where it was headed. I was actually an actor at the time, and less of a musician. That event made me change course – there was too much to write about.” (Gabe Berezin)

After a few line up changes the band found its current incarnation: a quartet with a focus on making music that’s more than a sappy confessional, music that truly vocalizes the things that provoke thought in these four. “I’ve never been one to write happy love songs – music has always been therapeutic for me. Our songs are more philosophical in nature – about loss, escapism, the fear of ineffectiveness/inconsequence, humanity’s obsession with faith, etc.” (Gabe Berezin” With that level of intellect infused in their lyrics, Monuments already stands out among the lovesick pop singers and hopefuls looking to make music as hooky as possible. That thoughtfulness, paired with the deep lapping of guitars and echoing vocals Monuments brings to the table makes the band’s self titled album play with an intimacy that isn’t often found in first releases. With the intent of questioning fate and the effect it has on all of us, Monuments belt, strum, and crash through this album in a way that is haunting and oddly invigorating. Though the pace never picks up beyond sway worthy, a sense of urgency is still instilled in its listener nonetheless.

Front man Gabriel Berezin took the time to talk with Reviewsic this past week and told us all about his favorite local bands, how Monuments has grown musically, and what comes next for the New York musicians.

Reviewsic: What are your top three musical influences?

Gabe Berezin: It varies so much amongst the band that it would be hard to narrow down. If I had to come up with some off the top of my head, I’d say John Lennon, PJ Harvey, Elliott Smith. Tomorrow that would probably be different, and the rest of the band would probably go on about Philip Glass, Miles Davis, Pink Floyd, Steve Reich, Otis Reading, The Stones, Sigar Ros, etc (shit, now mine sound tame).

Reviewsic: Is there any instrument you don’t play, but wish you did?

Gabe Berezin: Personally, I long to be a drummer, but Mike and I have a great relationship on grooves and beats. Plus, I’m a hack of a drummer anyway. I write on piano a bit, but I don’t have the energy to add another piece of gear to my rig, so Grant handles the keyboard stuff, mostly synths for now. It sounds like something out of Spinal Tap, but I’m dying to learn the sitar or sarod – both are instruments used by classical Indian musicians. Not enough time in the day though…Really, I’m still trying to be as good a singer and guitar player as I can.

Reviewsic: What music is part of your summer playlist this year? Do you have a top 3 new albums so far in 2010?

Gabe Berezin: Kevin is better about listening to more recent stuff than I am, I always find I need a year or two to catch up (plus I worry about being over-influenced by new bands). Was just listening to the new Broken Social Scene record last night – I’ve always loved them. Kevin has been into the Beach House album a lot, Grant has been on top of The Liars. The new Field Music double album is pretty mind blowing. Still loving that Dirty Projectors single too. Not sure what the big summer single is yet though.

Reviewsic: If you could work with one person in the music industry (musician, label, producer etc), who would it be and why?

Gabe Berezin: I hate to give the obvious answer but probably Rick Rubin. It’s a good question, b/c it’s fun to put this out into the ether in some kind of “The Secret” way. You hear stories about how he’ll literally sleep through a band’s rehearsal and wake up when they’re doing it right. He’s like some kind of shaman – he goes straight for the gut, and that’s what speaks to people most. I think that’s ultimately why his projects are so successful. The other ingredients about making a record are all hugely important, but it’s all seconda - Reviewsic

Monuments are from Brooklyn. They make music that sounds like the rain. Steady but mysterious. Their slower, acoustic driven tracks (“I’m Here Now”) are like One by One era Foo Fighters whereas the rest of their songs are guitar heavy and experimental, like Pink Floyd. The chord progression in “Expectations” sounds suspiciously like “Paranoid Android” but they make it their own by building the suspense into a ferocious frenzy of an ending. I’d be more concerned if they weren’t drawing inspiration from Radiohead. The songs are dizzying yet satisfying, like Explosions in the Sky through the rock’n’roll looking glass. Their self titled album does not deliver any specific musical agenda: the band doesn’t sound like anything in particular, neither band nor genre. They seek refuge in their own brand of creativity, stubbornly independent like a sailor at sea. - Music Induced Euphoria

Soaring out of Brooklyn on a breeze in the middle of a quiet night, Monuments’ debut self titled LP is the gentle relief to have pass through your ears and grace your face.

Their current lineup includes: Gabriel Berezin (vocals/guitar), Grant Zubritsky (bass/vocals), Mike Cook (drums) and Kevin Plessner (guitar/vocals). All together, these musicians each create their own sounds that provide a soundtrack that embarks you on a journey from space to the mountains to a small dimly lit graveyard.

At the start of the album, the effects on their melodic guitar riffs in “White Flags” resemble the echoes of a symphony of strings buried deep in a cave. And how about their vocals? Well, their individual vocals in “Silver Star” fuse together a harmony that creates an intense light show of blues, greens and yellows in your head. While this all occurs, the bassist crawls up and down his strings using his frets as his leverage, and the drummer adds that perfect, subtle percussion that brings it all together.

Monuments have been actively touring and playing shows in support of their latest effort. They are currently heading up and down the Northeast coast, and end the tour in their hometown of Brooklyn on September 9th at the Trash Bar in Williamsburg. This show in particular will be dedicated to the author Kurt Vonnegut. The band has been heavily influenced by his works and used them as inspiration for their music on this album.

In addition to their music making abilities, Monuments co-founded the Periodic Label -- a place for free music downloads compliments of their respected creators.

Words by Jennifer Lopes

www.monumentsmusic.com

TheWaster.com | NYC
07.19.2010 - The Waster

Monuments, a Brooklyn-based indie/alternative group, put their heart and soul into their debut self-titled album. I know what you’re thinking: “no shit, all bands do.” But I’m serious, this album goes beyond the music and hits close to home, especially with lead singer Gabe Berezin. Track four, “I’m Here Now,” speaks of Gabe’s close encounter with the unfortunate tragedy we have all come to know as 9/11. “You could hear the planes,” he sings. That morning he was distracted by his girlfriend (referenced in the opening lyrics -- “Lying next to you/your hair was smooth”) and consequently late for a temp job on the 97th floor. Did he escape fate? I’ll let you guys debate that one but that morning’s influence is certainly a motif that carries over throughout the entire album, which plays with the many philosophical questions the idea of pre-ordained fate elicits.



Monuments draw the listener into the album’s somber, thought-provoking mood with the guitar-dominated opening song “Silver Star.” As the activity of “Star” eases into a hypnotizing drum cadence, “White Flag” takes over on a slower note with echoing vocals that beg you to surrender to the music, as the name insinuates. Now, I have to admit, I was caught a little off guard when I read the titles for tracks six and seven -- “Ice Pick Lobotomy” and “Trust Fund Fuck Baby”. Those are two stand-out, gutsy song names but hey, the music lives up to the hype with inspiring guitar layers and authoritative lyrics like “You better be sure/because it doesn’t really matter anymore” and “I will never be defeated, again.”



Right from track one, if I had to choose who Monuments sound most influenced by, I’d blurt out Radiohead, and the second to last track, “Expectations,” further confirms my thinking. The song’s haunting vocals and clean guitar play is reminiscent of “Paranoid Android” and although the influence is strong they still fashion their own unique brand of music. Their last song, “Rescue Me,” is bass-filled and bursting with lyrical energy building a climactic end to an attention-grabbing debut album. In the very last seconds of “Rescue Me” they end with a sound suggestive of a record player coming to a stop; a suiting finish to the conclusion of a successful album two years in the making.



Gabriel Berezin (lead guitar, vocals, and “bullshitting” as it says on their website) is backed up by drummer Mike Cook who picked the band name out of the lyrics of “I’m Here Now” (that track seems to be the focal point of the album in more ways than one), Grant Zubritsky on bass and keyboards as well as singing back up, and Kevin Plessner on guitar. The band is primarily touring the East coast right now but check out their album and as their popularity rises (as I’m sure it will) maybe we can get them to bring their soulful melodies down to ATX. - Austin Music & Entertainment