Acoustic

Album Review – ‘Reverie’ by Tom Misch

Tom Misch, singer, guitarist, violinist, and producer, puts together a perfect Summer record with his EP Reverie. I had first ran into him whilst surfing those YouTube channels who are wanting to make themselves home to a particular style of music (think Majestic Casual, Holy Chill, Chillhop, etc.). The track I actually heard is featured on the EP, a collaboration with his saxophonist sister Laura Misch.

Tom Misch’s soothing voice pairs fantastically with the saxophone in the chorus, especially when the harmonies kick in. The double-bass behind the track has been beefed up in the low-end providing a more 808 like style, filling out the track considerably when paired with the drum loops. Lyrically there’s not much to be amazed by, but by no means does it hinder the track either, the scat “m-m m-m-m-m maybe” being a very nice touch and variation to the song.

Despite Misch’s instrumental prowess, he actually employs drum loops and all four tracks of the EP. This could have felt repetitive had the rest of the production not been rather interesting. Opener ‘Crazy Dream’ has a nice enveloped synthesiser which is joined by funk-inspired guitar and bass on the chorus. The rapping, whilst matching Misch’s soothing vocals, almost sound too smooth and relaxed, but again, it’s not a major upset or anything to criticise overly, especially when the lead synth is embedded beautifully towards the end of the track, and so Loyle Carner‘s feature does not go to waste.

‘I Wish’ features a snap-snared beat following a summery-acoustic guitar, an opening which remained me of Chance the Rapper’s ‘Favourite Song’ – I wasn’t quite sure of the chorus, it doesn’t quite fit with the more downtempo feeling of the song, the bass guitar and guitar pairing together to play a much upbeat riff. Had this solely comprised the chorus it would have been a questionable decision, but Misch adds his vocals prior to this little section, accentuated by crash cymbals to make it the change-up manageable.

‘Watch Me Dance’ closes the album, Misch’s violinist upbringing coming to the fore as the track is introduced with a lamenting string section which slips to the background as he brings in guitar and vocals. At around the 1 minute 40 second mark the name of the track comes to light as the kick drum drives the track forward with the bass guitar and guitar riffing away over the top of this.

The track really demonstrates his influences from funk, to hip-hop, to house as well. For someone who has yet to release a full-length debut album, Tom Misch is continuing to make waves, impressively selling out venues and embarking on his first US tour. I’ve yet to find a song that he’s written that I dislike, or rather that I don’t like, and so I hope he continues his ways and wish him success.

This article was written by Mo Hafeez

What we’re listening to (#17): ‘Veneer’ by José Gonzalez

Anyone who knows me well enough knows that I’m a supporter of Swedish singer-songwriter José Gonzalez and his stripped down album Veneer, the only two personnel on the record being himself and Stefan Sporson (who appears on only one track, ‘Broken Arrows’).

Not only is Gonzalez a very talented guitarist, but he also has a knack for bringing somewhat-classically styled playing to a larger audience in the format of indie-folk tunes. In fact, he’s so talented that it kind of takes away from his lyrical prowess, which when you look at on paper, is nothing to go crazy over, with much repetition being used throughout – however, when you combine the two together, along with his low almost mumbling voice which are double tracked to great effect at various points on tracks, it creates a very ethereal atmosphere.

The only time he picks up the energy (only very slightly) is in ‘Hints’, centered around a fairly complex riff when combined with the fact he’s singing over it – his lyrics are more forcefully delivered, the guitar more tense, the only percussion present being Gonzalez’s fingers move up and down the fretboard, his use of non-standard tunings creating an interesting chordal basis for the track.

Other originals like ‘Crosses’ and ‘Remain’ continue to showcase talent, particularly his unique strumming and picking patterns,  but perhaps the repetitive lyrics might throw some listeners off. The latter’s riff stuck in my head long after my first listen, and the very well built up ending is another instance where Gonzalez goes a bit more upbeat, with Bonfa-esque jazz vibes.

The song that most people know from this album is ‘Heartbeats’, a cover of a song by the Swedish band the Knife – perhaps most remember the Sony Bravia television shot in San Francisco advert more. Even though it’s not his own song, he makes enough changes to it to keep it original, to keep you listening, and whilst he was that, he also crafted a melody that many aspiring guitarists took their time to learn (including myself). The lyrics, whilst not his, are poignant and are sung poignantly:

“And you, you knew the hands of the devil
And you, kept us awake with wolf teeth
Sharing different heartbeats
In one night”

This album has the power to put you asleep, and I mean this in a good way – Gonzalez’s voice has a certain quality that is difficult to place your finger on.

If you’re craving for something different, pick up this album.

This article was written by Mo Hafeez