Tear in the Radio #2 - The Stolen Volume 2 | Page 19
WE ARE FRIENDS | FRIENDS AT THE FALLS
This New York 5-piece has a lot of the same merits The Killers
had back before they became wildly inconsistent: cool guitar lines, sophisticated drumming, and the courage to wear
on their sleeves an abiding love of 80s synth tones. Jake
Stam’s vocal delivery is undeniably compelling, with a slight
edge that echoes Will Sheff or even Max Bemis. His evident
emotion andsoaring melody lines steal the show more often than not. “A Heart To Save” will be an alternative radio
hit if there’s any justice, but the EP’s finest song is probably
“Bright Eyes.” “Go, be a stranger” Stam sings, which is one
of the better goodbyes I’ve heard lately. “While you keep ‘til
you’re dry,” he continues, and I’m not sure how I’d go about
keeping until I’m dry, but I can say I’ll be thinking about it.
SKIN & BONES | THE HOUSE ON CLIFF
The House on Cliff exceeds expectations in their sophomore EP Skin & Bones. The singles “Wrong” and “Skin
& Bones” had already been performed live before the
release of the EP and the reception was instantly positive and well-received by the audience. The favorable
feedback can contribute to the live execution of the
two songs: their reputation as hard hitting, electrifying,
and extremely animated performers only highlights
the music and such traits are sometimes limited in the
studio – but no one holds back in Skin & Bones. The
element that makes this EP particularly significant and
actually shows a change and improvement since the
2014 self-titled EP are the tracks “Stop the World” and
“Demon Days”. An argument against the EP The House
on Cliff was all the songs were too similar in terms of the sound and beat and it didn’t showcase anything unique about the Boston rock quartet. “Demon Days” and “Stop the World” is the counterargument against that claim. “Demon Days” is rich with jazz and rhythmic blues, briefly explored before but
never fully embraced until now. “Stop the World” is the most eclectic off the EP with the more 1980s
ballad-esque tone, backing group vocals in the chorus, and softer, romantic guitar solo all completely
new but so satisfying to The House on Cliff.