From the legendary record label that brought you bands like
Cursive, Bright Eyes and Azure Ray comes a new anticipated release.
Out of Omaha, Neb., Saddle Creek Records gave birth to Now It’s
Overhead’s new full-length this year.
The new album, “Fall Back Open,” starts off with an
echo-sounding guitar and a soft but steady beat. The best part of
Now It’s Overhead is LeMaster’s versatile voice. His pitch flows up
and down very restlessly but is never too drastic. Right when I
heard LeMaster sing his first note, I knew this record was going to
be worth my time.
Musically the band sounds very space-like and shady. Every song
has a diverse drumbeat and unified guitar patterns. Now It’s
Overhead has many different effects, which create an album that
never gets repetitive. Although some people may categorize the
band’s music as more gloomy sounding, I think it’s far past
Another appeal to this album are the guest vocals of Michael
Stipe from the popular band R.E.M. Conor Oberst from Bright Eyes
also provides his exclusive voice on the record. Now It’s Overhead
is part of an amazing family of musicians.
“Fall Back Open” won me over because every song is different.
The band has created an all-around sound that contains essential
unity for music today. If you are a fan of Bright Eyes, Death Cab
For Cutie or Pedro The Lion, this record is calling out your
This Moment in Black History
By John Holland, Assistant Music Director
Garage rock is arguably on its downswing, with people growing
tired of the sounds of the Hives and the White Stripes. It’s not
going away, it’s just slowly working it’s way out of the mainstream
culture to make room for other genres to spring up. This Moment in
Black History is almost too garage rock for garage rock. The
group’s record label describes the band as “basement hardcore,” but
labels tend to get confusing.
Basically, This Moment is a band out of Cleveland that doesn’t
try to overwhelm you with its musicianship while at the same time
not making you think, “I could do that.” Catchy? At times. Heavy?
Always. It’s noisy, gritty and at times abrasive. I know, it sounds
like the formula for the perfect garage record. It was even
produced by Jim Diamond, the master behind the White Stripes and
the Von Bondies. Don’t be fooled by the reputation that may precede
this album. “Midwesterncuttalistick” is not what you might
“The difference between you and me is that I’m not on fire”
By: Nate Harper, Metal Director
While “sophomore jinx” may not apply – as it is Mclusky’s third
album – “The difference between you and me is that I’m not on fire”
is under similar scrutiny by fans of the Welsh trio. With the
group’s first album, 2000’s
“mypainandsadnessismoresadandpainfulthanyours,” the band reached
out for something that it eventually found on its inventive,
critically-acclaimed follow-up, “Do Dallas.” Not content to rehash
the disparate vocals and at-times blasting guitars of “Do Dallas,”
Mclusky’s members make an attempt to advance themselves as both
musicians and songwriters.
The resulting album sounds like a fun-loving teenager who tried
to grow up too quickly. The uneven mix of straight pop and indie
oddities makes for a less cohesive, and at times uneven, collection
of 13 songs over the album’s 41 minutes, although almost eight of
those are tied up on the moody final track “Support Systems.”
There are fewer two-minute noise fests on “The difference” and
more slow work. Frontman Andy Falkous’ attempts at introspection
sometimes seem forced, but the high points that are present,
particularly “You should be ashamed seamus” and “1956 and all
that,” are enjoyable. The record does improve on subsequent
listens, but for fans looking for another “Do Dallas,” proceed with