Ease Into The Noise offers some eerie soundscapes, enticing melodies, and otherworldly vocals on their self-titled debut CD. The CD cover artwork only hints at the unusual artfulness of what this band has to offer. A drawing of a bejeweled, aristocratic lady observing the sky in a grassy filed is noted for all it does with a few basic colors. Likewise, Ease Into The Noise can do a lot with a little in this first outing that makes one wish this disc could be twice as long.
The line up of Ease Into The Noise is Patrick Barry: keyboards, cigar box guitar, drums, and percussion; Eoin Breathnach: vocals, Christopher Brown: bass guitar, vocals, keyboards, e-bow, programming, drums; Phil Fleming: vocals, drums; John Greene: guitar, baritone guitar, bass guitar, drums; Seth Kellogg: guitar; Jon Sasor: guitar, ukelele, editing.
Opening with “Zero Crossing,” this unusual outfit intrigue with some odd, minor key notes from a few unusual instruments. Notes that fall like gentle raindrops ring out with a purity of tone within a sweet simplicity. After treating their listener to this confection of tender sweetness, they leave the door open for more rocking tunes.
“This Conscience” swaggers forward with a persistent backbeat that gives an electric guitar a bulbous groove to dance around. Vocalist Eoin Breathnach sings with a timbre and delivery that are just weird enough to keep one interested. Nervous slices of lead guitar cut through the moody atmosphere like spotlights searching for a plane on a foggy night. The entire band comes together nicely with a looming presence, projecting a feeling like they’re larger than life.
Contrary to the song’s title, “Directionless Motion” moves with Mack truck strength on a relentless drive. Fleming gets more aggressive vocally, belting with a steady purpose, soaring over a dark, edgy landscape of brisk rhythm guitar and a fibrous rhythm section. A lead guitar catches on fire, with a lot of sparks near of the end of this tune, drawing the listener in with an alluring tone.
“Oblivious To Charm” is a steady march through an interesting sonic landscape built by edgy, snaking guitar lines, persistent drum kit nudges, and Fleming’s ever so unique timbre. The lead guitar becomes more interesting as the song progresses, unwinding and unfurling its feisty personality. Peppered with intriguing keyboard work, this tune is like an onion for the ears to unravel.
“Find It Today” pulls the listener right in with its puffy bass lines, backbeat, and piano touches. The vocal timbre is smoother here, yet it still expresses as much feeling as the band’s eerie voice. Still, the band adds just the right amount of notes and personality as the song moves along. Keyboardist Patrick Barry can create a lot of feeling and texture with just a steady touch of chord work.
“Paranoia (Aggressively Legit)” finds the lead vocalist back in true form. Nobody else in music has a voice quite like this. His character rich vocal brings the kind of heft needed to match the unique playing techniques and song construction here. It also contrasts well with the siren call of smooth electric guitar phrasing that picks up as the singer pauses. It’s all so well constructed, conceived, and precisely played. It’s easy to imagine this song doing well on local rock radio.
“Black Philip” is a mid-tempo cruise into a dark travel lane. One feels one is going some place ominous as this comfortable black limo ride drives deeper into mysterious sounds. Eerie, whistling melodic lines from various instruments contrast with darker rhythmic runs from the rhythm section and guitar. Some keyboard effects complete the scene, keeping it a long, dark journey into night.
Clocking in at over eight minutes, “The Ever-Present Disconnect” is an early Pink Floyd influenced opus. Its down tempo build up is loaded with intriguing sounds with the lead vocal having a huge presence even in a mellow croon. A twitchy rhythm guitar draws one in further with its hypnotic allure while a lead guitar simmers in the backdrop. This number could best be described as a journey song. It never stops making one feel its sense of travel, travel into exotic new lands and vistas.
A brief close out song, “Apocalyptikepilogue” is as unique as its title implies. Hushed vocals, edgy guitar sounds, effects, propulsive drum work, and a few things the ear cannot easily identify engage the listener with their pushy, muscular melodies and rhythms.
This debut album offers just enough of a strange, new, good thing to leave us wanting more. Ease Into The Noise have eased themselves into something clever, wholly original, and strikingly good. Let’s hope these players get back into a studio real soon.
http://easeintothenoise.bandcamp.com/
