Bastard

Up to this point, I have been arguing the thesis that Finneyerkes’ three albums, Gather & Sing, Without End, and Bastard, are best taken as a cohesive whole as opposed to three distinct albums. For the purposes of this present post, “up to this point” will be the operative phrase. I say this because, on the surface, the album Bastard seems to be an hour-long refutation of my theory. From the droning chimes that herald the start of “Cobain,” the album’s opener, to the supple atmospherics that saturate the last track, "Honeymoon at the Holocaust Museum," Bastard definitely explores musical textures not present on the prior releases. Don't misunderstand me, Bastard does not represent a sea change for the band, but it does place the burden of proof on this reviewer's shoulders. To that end, I offer the humble assertion that the albums are cohesive, not because they are similar in some readily apparent way, but because they all explore the same central motifs, but each in its own manner. Bastard finds the band shifting farther toward the ambient end of the spectrum. The mixing this time around seems to be more austere, the lone guitar tracks evoking images of desolate railroads and forgotten warehouses. However, one of the most salient features of Bastard is the absence of Matt Finney's voice. Initially, I found the dearth of Finney's warm and familiar intonations to be disheartening, but on repeated listens it seems evident that the integrity of the album was at the forefront of Finney's mind. The tracks on Bastard are very effective as instrumental pieces and it requires a great deal of artistic devotion to put the quality of the album above one's own ego. Make no mistake, Finneyerkes is no one-trick pony. Bastard proves unequivocally that the band possesses a vast musical palette, the beauty of which will only blossom further with future releases. Even so, it is with a bit of sadness that I make my closing remarks regarding this album, knowing that there are presently no more Finneyerkes albums for me to discover. But I am comforted by the fact that a very reliable source stated that there are new songs in the works. In the meantime, you can be certain that I will be revisiting these three albums often. Like the faces of childhood friends, they have seared themselves, indelibly, into my consciousness.

(Bastard is not currently available for download from the band's MySpace page, but you can download the album here. Stay tuned, this Friday (10/2/09), I will be posting my interview with Matt Finney. You don't want to miss it.)

Without End

As I alluded to in my previous post, there is a great deal of continuity between Finneyerkes' three releases. Without End, the second installment in the present trilogy, is a powerful follow-up to the exquisite Gather & Sing, which I sincerely hope you've taken the time to check out. The album opens with the track "Elsie," currently one of my favorite tracks by the band. The immensity of the sound is impressive. Layers of rich guitars envelop the listener, subtly beckoning one to a place that can only be half-imagined, even in dreams. Finney's spoken word is more masterful than ever on this album. His parched and fragile drawl drifts through the ether like the memories of childhood - sweet and irretrievable. There are many poignant moments on Without End - the dense beat on the track "Riopelle," the unexpected, yet welcome forcefulness of "Erna" - and I fully expect that it is many listeners' favorite album by the duo. Without End is as potent a creative statement as you are likely to find this year. It fiercely reaffirms that Finneyerkes is a band that does not fail to deliver.

(Again, Without End is available for free download on the band's MySpace page: http://www.myspace.com/finneyerkes. Regardless of your feelings about post rock or ambient music, the album deserves to be heard. Like the best artists, there is something universal about the emotions Finneyerkes convey through their music.)

Gather & Sing

It was always my intention to have the inaugural post on this blog showcase a band whose music truly excited me. Not the type of general excitement that comes from hearing a song with a good beat or catchy chorus. No, I had my heart set on a band that reminded me of the reasons I love music in the first place. Which leads me to my present offering: Finneyerkes. Finneyerkes is comprised of Matt Finney (spoken word) and Randy Yerkes (instrumentation). Their music is vast and elegant, full of warmth and beauty. Of their three releases, Gather and Sing (whose album art is featured above), is currently my favorite. I say currently because the three albums seem less like discrete works and more like chapters in a book you can't bring yourself to stop reading. Gather and Sing opens with lilting and heartrendingly beautiful guitar work. It is only a couple seconds into the first track when Finney's thoughtful words make their first appearance. Finney is careful and deliberate in his diction. When Yerkes' soundscapes are best left to speak for themselves, Finney allows this, giving the words he does speak added emphasis and import. Finney and Yerkes exhibit true musical cohesion and chemistry. The music would not be nearly as startling and stunning were it not comprised of both members. Gather and Sing is one of the most exciting albums I've listened to in recent memory. So, my challenge to you is this: take your headphones and portable music player and go on a walk at night. Go by yourself and listen to Gather and Sing . . . and try not to be affected. Trust me when I say the odds are against you.

(Gather and Sing is available for free download on Finneyerkes' MySpace page: http://www.myspace.com/finneyerkes. Do something nice for yourself today and check it out.)