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Written
by David Shouse, posted by blog admin
It’s
evident from the shucking and jiving pop n’ rocky fury of lead-in number
“Everybody Move” that Man Called Noon is intent on getting limbs swinging and
bodies bumping with their danceable acrobatics.
Anthony Giamichael’s post-punk guitar shimmers and scorching solos work
up a good melodic sweat set to a thrilling tempo ride set by drummer Josh
Fontenot and bassist Dave Aitken’s well-oiled swagger. Citing soul and Americana influences these
elements ebb to the surface of Man Called Noon’s style thanks to the call n’
response vocal dynamics of Giamichael’s leads and Erin Piortrowski’s lavish
back-ups; together the team makes the verbal component of the band’s sound
airtight uber-contagious. There’s a
breathy, slightly nasally vibrato to Anthony’s leads that sounds a little like
Tom Petty, but he keeps subtly shifting his tonality for a very original
feel.
The
second composition “Kiss Kiss Bang Bang” might be the EP’s best overall piece
but with the quality of material on offer here, well, that’s a tough call to
make. Still this tune charges forth on a
careening drum performance that embellishes punk rock tempos but twists them
towards new wave’s lockstep syncopation and fluid bass work. The guitars hang back in this one and seem to
add extra notes to help complete certain grooves, embracing a near minimalist
approach to the playing which delegates synth-player
Nathan Crone to a pivotal role that sees his swelling, sonically tough
keyboards riffs placed right upfront in the track’s production mix. Speaking of the production there’s a fine
sheen to the total package yet a certain amount of rawness is present on each
instrument; rendering Man Called Noon as a rambunctious act who can take a wiry
rock song and sand it to a smooth pop masterpiece. Again the harmony vocals shine as the
instrumentation delves into a complexity one seldom hears when exploring this
style of music. These cats should be all
over rock radio and hopefully they are.
This
superb EP crosses the finish line with “One Last Ride’s” raucous punk n’ soul
shakedown; Piortrowski steps into a co-lead vocal position providing some
wordless blues melodies that wrap around Giamichael’s hooks like man-eating
pythons as a throttling rhythmic groove nails everything down tightly. Upper echelon vocal trade-offs and some of
the most striking guitar work on the recording (marked by another killer little
solo run) yields this jam a rowdy aura that will make you really want to bounce
off your bedroom walls. The alchemical
split between soul, rock, punk and electronic music isn’t performed quite like
anybody else out there. Man Called Noon
is fiercely original when stacked against their closest competition.
All
three tracks on this EP hit the bullseye with abandon and attitude. Though pop elements prevail and the
songwriting is tailor made for dancing and bedroom mirror vocal performances,
there’s a sonic slap in the snout to this music that makes it a bit more in
your face than anybody else that does it. Man Called Noon is poised to release
the best album of their career based on the strength of Everybody Move; keep an eye on them!
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