I'll just start off to say this 6 song 10 minute album has kept me content over the past two weeks. I've been listening to it way too much, I'll admit. Every guitar part is insanely catchy, even when Angie is using all six strings (very contrary to normal riffage style), the chords are a complex mesh of major sevenths and melodies layered underneath standard power chords to bring a very full sound only using one guitar. So those who say "Chords =/= Riffage", I say no. Drum riffage is consistent and compliments the guitar riffage in some cases, but isn't overly complex. Bass plays off of the guitar and creates its own counter melodies for MAXIMUM RIFFAGE. Everything is centered off the guitar, which creates a riff friendly environment.
The album opens with a strong riff from "Pet Cemetery", which may throw you off guard since it's only a major third alternating to the fifth, but the riff is carried throughout the song and slowly progresses, coming back in as a powerful octave chord over a standard power chord. The drum fills match with the guitar strumming pattern, breaking the common 2/4 snare pattern present in most music. As the song progresses into its "heavier" stages, the bass plays off the melody and riffs out on sweet harmonies to the root notes, making a very warm sound. Ends in a slow ballad like pattern, BUT STILL RETAINS RIFFAGE.
We then transition into the fast paced second track "Dreary" which keeps the guitar melodies cutting through the root undertones, then to a break-beat gang-shouting chorus. Soon, Angie creates Pen Riffage playing off the days of the week WHILE STILL RETAINING GUITAR RIFFAGE that follows the melody but still keeps a consistent root note, while the bass harmonizes with the root. Obligatory gang shout count off is then present for the slow but still riff-ish chords.
Probably my favorite example of Riffage on this album is in "Loft Coffin". Very first thing you hear is some very fast and very sweet Drum Riffage, coming in with an awesome start-stop single note guitar riff, which once again explodes later in the song. The ending riffage in this song is a little weak, HOWEVER the main riff in the song makes up for this.
"Atlantic Bridge" IS chord riffage. Fast paced upstrokes immediately gets your feet tapping. Vocal riffage is simple but catchy and in Little Lungs style the riff is hinted at throughout the entire song. A sudden stops leads to an exciting change to 6/4 with exploding snare drum riffage. A really solid song.
A standard fast pace pop-punk song, "White and Green" keeps a steady tempo but still uses awesome octave and major seventh chords to create that indie-thrash riffage. Vocal riffage is a bit more aggressive, which is pretty sweet. A sudden slow down leads to a melodic guitar riff with harsh vocal riffage, which makes awesome contrast.
The longest and last song on the album "The Big Six" delivers. Every type of riffage is present here. Starts off again like White and Green, as a fast paced punk song, with a more tragic feel vocally and lyrically. Changes to a swift pop-punk breakdown, then opens into a melodic cluster fuck of INSANE RIFFAGE. Drums keep a swift eight note pattern on the hi-hat over the slow feeling of AWESOME RIFFAGE on the guitar. The bass jumps between the root and major harmonies to create a warm tone over the eerie vocal melody and PEN RIFFAGE where she paints a strikingly straightforward picture over a metaphor. Ends the album in a close to perfect way.
I ranted way too much on this album, you should just listen to it yourself. WHICH YOU CAN FOR FREE! RIFFAGE CAN BE OBTAINED HERE! Also a better review of the album! http://icoulddietomorrow.blogspot.com/2009/05/pop-punk-week-little-lungs-hoist-me-up.html
But the riffage of this album is exceptional, and is what makes Little Lungs, well Little Lungs. I went out on a limb and DIDN'T compare an Indie band with a female singer to Lemuria, because they are nothing like them.
Well, constant riffage. In all forms available. Riffage is also really awesome.
INSANE LEVELS OF RIFFAGE
No comments:
Post a Comment