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by
SeepeopleS
return to www.seepeoples.com
State of Mind Magazine, May 2007 Review: Apocalypse Cow Vol. IOn their album The Corn Syrup Conspiracy, SeepeopleS were out to save the world from a sinister plot to destroy it. Apparently something in the plan went awry. Because as Apocalypse Cow Vol.1 would indicate, the international conspiracy has led us to the first stage of the apocalypse. But while the world may be at its most desolate and chaotic turning point, SeepeopleS has released their best and most focused album to date, embodying an ambitious band on the rise with an aggressive and edgier vision. It tells the tale of a man coming of age in a world devoid of meaning and purpose, featuring a variety of viewpoints and characters—all impressively emulated by bandleader Will Bradford. SeepeopleS' sound is almost impossible to characterize as any one genre, but this release drastically narrows the forum of debate, as they leave behind the funk, reggae-dub styles they've previously used and opt for the addition of a string ensemble—featured on songs "Don't Be So Long," "Last Breath," and "Say Goodbye." It's a fantastic addition to the band's vocals and technique that blends perfectly their fondness for reverb and delays. Although SeapeopleS are far from being classified as a pop act, the catchier songs on this album have an undeniable pop flavor, side-dished throughout by heartier helpings of alt-rock. It jumps off strong with the catchy guitar-driven "Don't Panic" followed up by the album's title song—and characteristically the most pop—"Apocalypse Cow." Synthesized bells and chimes playfully and repetitively cascade amidst a metronomic drum sample, then blast into the chorus, rallying up recruits for battle and delivering lyrics like punches. Whereas their last album featured a fifteen-minute jam, there are hardly any on this one—relying more on studio production and groove oriented layers of sounds, with the exception of the spaced-out, let's-go-down-the-rabbit-hole "Once A Dream." Nestled amid the more boisterous and catchier anthems, fans will recognize thoughtful ballads as more of the classic rock and jam sounds they've come to identify with the band. The reverb on the background vocals and descending harmonies in "The Sun Is With You" must've been made specifically with an encore at Red Rocks during sunset in mind. While broader thought could have been given lyrically, there's more than enough sophisticated instrumentation displayed to overlook cringe-worthy lyrics, like "Are you fighting the good fight in your own way?" It may be the journey they've begun as musicians proves to be more exciting than the narrative they've begun to tell on this album. By Margo Rumisel |
Apocalypse Cow Vol. I