Tuesday, December 03, 2019

Eiliding scattered thoughts into attempted cohesion to describe Byre with various levels of success (which said, true success would be measured by your listening to band, so go on right ahead and do so!).

Byre is dressed for success!
Last night I was watching a documentary on XTC, and today I’m listening to this EP from Byre and can’t shake the notion that they kind of sound like a more ruminative version of XTC. Which, of course, they don’t really—my recency bias is clearly clouding my ears. But one thing they do have in common with those English indie and psych stalwarts is both bands are capable of unexpectedly tender vocal melodicism (which in Byre's case I presume are primarily delivered by Aaron Tanner). But the sound is entirely Byre's own. But hey, I needed a starting point to write this from, and this particular starting point works for me.

Byre's music is supported by tastefully busy drums, propping up solid bass platforms and guitars that interlock to create walls encapsulating you in the group's sound. Raindrops of spiky notes drop on top of you as guitar and bass accents throughout the Byre's songs. The feeling is of a solid building growing around you with the structure's roof leaping into the sky here and there as the music takes unexpected turns.

That last bit was typed in bits and pieces as I was listening to Byre's Head In Dead Lights EP, but I think the majority of it popped into my head during "Melindiana," so if you're looking for a musical CliffsNotes (ClefsNotes? Har-de-har!) audio version of what I just said, go there first.

Wait! No! Don't miss all the other good stuff! Listen to the whole thing from start top finish and then hop around all you like. But c'mon, the thing's only 5 songs long, so you can take a break and pay attention for that long.

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