With the range they have showcased, there is so doubt they have the abilities to make fun, interesting music for a long time coming.Īfter listening to their album, we were able to ask Psymon Spine some questions to find out more about what went into You Are Coming to My Birthday. You Are Coming to My Birthday is a stunning introduction to the band’s musical sensibilities. Gears brings the album to a softer conclusion while still exhibiting the range that makes Psymon Spine’s debut so compelling. It is the album’s most popular track for good reason it makes an effective summation of You Are Coming to My Birthday. Penultimate track Lines and Lines and Lines End soars through its six-minute runtime in technicolour exuberance. Its instrumental progression is stylistically comparable to Dad Country – though this time I thought more of Meet Me in the Basement by Broken Social Scene – with the addition of a rapped verse. Transfiguration, too, returns to the chanting of the half former half of the album. Its guitar riffs are heavier than the guitar work on Eric’s Basement and Secret Tunnels or Crown a King, with shouted vocals and a heavy beat on the chorus to match.Įxperience Machine melds West African drumming with the heavier guitar and vocal styles of Speakers and – unexpectedly but not unfittingly – the melodic chants heard throughout the first half of the album. Speakers deviates even more substantially from the rest of You Are Coming to My Birthday. It makes stunning instrumental progress over the course of its six and a half minutes. Dad Country is reminiscent of the ethereal progress of Sleeping Lessons by The Shins. It pairs fittingly with Dad Country, which appears a few tracks later. Eric’s Basement and Secret Tunnels is lighter and subtitler than the preceding tracks, with soft guitar woven through the track alongside the heavier electronic elements.Įven when Psymon Spine adhere more closely to an indie rock formula, like they do in the latter half of the album, the sound is never routine. With layers of strings and vocals instead of synth, Crown a King showcases a different side of the band without sacrificing the depth of their sound. Predominantly instrumental track Eric’s Basement and Secret Tunnels is a rapturous addition to the album. Herein lines their ability to make excellent electronic music: the beat drop is a perfect culmination to a danceable track rather than the sole pay out of a drawn out build. Yoana drives towards a climactic beat drop in its final minutes. The prominent synth in the latter half of the song makes for a seamless transition into Yoana. Atonal vocals sing in a round, “I don’t understand why you think / Nothing in your life is changing,” over a chorus of melodic chants. Shocked builds steadily from layered West African style percussion and a whistled melody. The song pairs choral vocals with an up tempo guitar driven melody. You Are Coming to My Birthday is a multifaceted album with a complex soundscape to compliment the band’s pop sensibility. Album opener Separate leans towards maximalism without being overwhelming. The album’s sound is a seamless meld of synth beats and melodies, subtle instrumentation, resonant chants and choral harmonies. In contrast with the repetitious sound of mainstream electro pop, Psymon Spine’s debut album You Are Coming to My Birthday is intriguingly unpredictable. To call their music electro pop – or more generically, EDM – is to risk classifying Psymon Spine alongside the genre’s least interesting and paradoxically most popular acts. Founded in 2013 by Peter Spears and Noah Prebish, the Brooklyn, New York band currently has a five member line up that includes Devon Kilburn, Nathaniel Coffey, and “Brother Michael” Rudinski. Though they have only released an album’s worth of material, they have already masterfully created a sound that defies conventional genre classification. Psymon Spine’s sound is nothing short of euphoric.
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