You can’t demand to hear the roar of the crowd after a home-run, until you’ve settled into your seat and find yourself surrounded by the ambient sounds of the ballpark. Okay, wait. That may be the lamest comparison I’ve ever made… but I like it!
“Artwork Dancing” finds OFAC taking that mellow mood set up by the opening track and then promptly blasting it into outer space with a wonderfully up-tempo groove. If silence is the sickness that infests Thulcandra, then this song sets out to rip apart the clouds and demand that the sun shine down on everyone’s smiling faces and dancing feet. It is one of my favorite songs on the EP, no question.
“A Liar’s Monologue” stutters out of the starting gate with this great interplay between the back-beat rhythm and the guitar’s insistent groove. Eventually, the song erupts into the chorus, only to plunge right back down into another shift in the groove. Funky, simple, and just plain happy to make the acquaintance of your ears, it isn’t hard to see why this was chosen as the title track. Love this song.
“Moonstrung Intoxication” is pretty much the song that signalled to me the fact that this was going to be a cd that I would enjoy. If an album can hold my interest through the first three or four songs, then I know it’ll be worth making my way through until the final track. Too many albums these days are loaded with two decent tracks at the beginning of the album only to be followed by a chain of mediocre songs that could of (and should have) been improved upon.
Not here, though. This song has a great little guitar riff that rides along the very capable back-beat of the drums, only to find itself draped with some very lovely vocal work from the guys.
As a matter of fact, I’ll say that for all the tracks, really. Not only does OFAC’s musicianship work well together, but so do their voices. It’s nice to hear a band that can play and sing at the same time.
“Photo Not-Graphing Emotions,” aside from being one of the more tongue-twisting song titles that I’ve happened upon in a while, also happens to be a damn decent song. Buoyed by some really nice work by the bass and lead guitars, the song just rockets along and leaves you at panting at the end and wanting more.
“Welcome Back To Unconsciousness,” while a good song, is maybe not quite so tight and righteous as the others that come before it. Then again, when I sit and listen to it again (and again) — I realize that I wouldn’t be doing that, if there weren’t something interesting about the track. Notice; I’m not saying this isn’t a good song, only that I’d give it about a 7/10 as opposed to the 9/10s that I’d probably give the other tracks.
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