Every action has an equal and opposite reaction, and the same holds true in music. In a medium defined by sound, it’s a little bit of silence that often makes the difference. This truth is evidenced in the discography of Andy Polk, an up-and-coming singer-songwriter and Syracuse attendee. Polk is getting love from the notable Jeremy Zucker’s camp, and for good reason, as his freshly minted debut album ‘anyway,’ showcases a natural flair, and a deliberate understanding of how to make a song pop. The album is top-to-bottom solid, but ‘Timeline’ is undoubtedly the signature track of the second half. Carried by a xylophone-esque lead which drops the listener off into a river of bass, Polk plays with silence expertly as he interjects with truthful and perceptive lyrics. Distorted guitar slides and a sparkling background synth round out the powerful ensemble.
‘Am I coming out of left field?’ Portugal. The Man’s front man asks in the opening stanza of “Feel It Still” the popular indie band’s chart-topping song. For fans of the original, the cosmic bass and ensuing massive kick do, indeed, come out of left field.
For fans of Flatbush Zombies, an easy listening track built around singing and plodding guitar plucks is an interesting departure from an often harsher, more stripped down sound, defined by dense lyricism.
However, the well documented psychedelic leanings of both the Brooklyn based Rap triad, and the Alaskan native *whatever you call this*
make this a union that isn’t too far from home.
There’s no doubt it’s a winning combination. The original track benefits greatly in its tuned down transition from shrill to chilled, and Meechy Darko’s gravelly vocals and dense rhyme schemes thrive when given the space to breathe over a scenic backdrop. Fingers crossed that both sides pursue the avenues this collab has unearthed.
*Sourced from Portugal. The Man’s incredibly thorough Wikipedia
James Quick is a bad, bad man – and he doesn’t care if you know it. The singer songwriter turns the atmosphere to 11 in ‘Brushed Down Kilos’. Breathy vocals mirrored perfectly by a yearning guitar serve as the vehicle for lyrics that are equal parts ferocious and resigned. Top it off with timely bass and an epic guitar driven coda and you’ve got a classic on your hands. “Can’t change me / Can’t save me” Quick insists – but why would we want to?