The whole EP is a raucous celebration of joy, unbridled, unapologetic. Opening track “Four Day Weekend” is orange sherbet laced with LSD, its successor “Rum Punch” is an ice block running down your chin on a sunny day, the skanky polka interlude “Scotty Scotty” sounds to me like a jar of pickles grew wings, and EP closer “80/20” is aviators, motorbikes, denim jackets, and adrenaline. I don’t want to dissect Four Day Weekend – this is a short review for a short EP. Tasty harmony, juicy, catchy melodies, boisterous rhythms, the occasional self-indulgent but very appropriate shred solo (including a guest appearance from MONUMENTS‘s Olly Steele) – what more could you want? It’s a flawless, gutsy wee EP that you absolutely shouldn’t miss. The musicianship is also absolutely outstanding, both the playing itself on all instruments as well as the songwriting itself. The only times I stopped smiling while listening to Four Day Weekend were to pull stank faces, and I couldn’t keep my head from bopping. Somehow, Moray Pringle got through to me.
Moray Pringle combines the ridiculously high energy of Lettieri’s funk grooves with the melodic sensibilities and slippery playing style of Plini, and amalgamates them into a rainbow-flavoured ice cream-vodka-psychedelic-popping candy sundae of an EP, an EpiPen of dopamine for worn-out minds like mine.
With grey foam filling my head, it didn’t manage to do anything for me. Sometimes, like on the closing track “80/20”, it hits hard and inches towards metal, but for the most part, to me it’s some funky-ass rock though, as with any good music, genre descriptions become redundant very quickly once you let yourself enjoy it for what it is.įunk baritone master Mark Lettieri recently released his first full-length album, which my partner has been raving about, but I just couldn’t share his enthusiasm. Basically, it’s 13 minutes of carefree guitar noodling over groovy, spicy riffs. Had that not been its genre description, I likely would’ve missed it. Luckily, Four Day Weekend was tagged – somewhat misleadingly – as instrumental progressive metal. I review mainly metal, because I love its dreariness, its aggression, the angst, the pain. Frances the Mute reignited my curiosity for discovering things I hadn’t heard before, and Moray Pringle turned that spark back into a roaring fire. Firstly, it seems appropriate to review it purely for the title, which reflects my current situation secondly, it is such a vivid album that I feel it almost single-handedly shocked my brain back into enjoying music through its sheer positive energy.
Here’s where Moray Pringle’s new EP Four Day Weekend comes in. Now, I realise that’s a long intro, but I swear it’s relevant. On my drive here I listened to The Mars Volta’s excellent album Frances the Mute for the first time, and I found it so enthralling that my ears were demanding more new music as soon as I got to my accommodation. I can’t remember the last time I was alone like this, but you know what? I already feel more real, and I felt inspired, for the first time in months, to write a review. So I’ve taken myself on a holiday – I left my various troubles at home, took a stack of CDs and books, and drove away. I found my mind vacant, grey, and felt I had a veil over my eyes and cotton in my ears – I could physically see and hear just fine, but I couldn’t connect any emotion to what I was experiencing. I’d kind of fallen out of love with discovering new music, and my brain just wasn’t willing to produce useful sentences about it when I’d tried listening to any. It’s been a while since I’ve written a review.
0 kommentar(er)
