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“There are memories that are gone immediately, there are some that fade, and some that just do not leave. I know you have them. Spend this song inside this memory.”
How To Catch a Falling Knife
is like green noise - it is not silent, but silences. It feels like walking through a forest that your brain perceives as muted, but your body feels in every single bone. Like a flooding deprivation tank. It’s all consuming in such a quiet way. It’s so loud.
It doesn’t make sense, but that’s how it feels.
The Hardest Love
Dean Lewis describes himself as relentless. His feverish passion is a swirling storm, and his music is the storm's eye - a centered stillness in a surging spin.
If Braden Bales is a striker, his lyrics are the match. His words hit the uncoated surface he creates at just the right rate, and line by line, the spark scintillates. There’s something so precise yet unstrained about him, like the way a match just slides. He’s a nomad walking a sniper-steady trail.
You can almost feel an omnipresence in Leon Thomas’ debut album, Electric Dusk. It’s the presence you hold when you watch a film, and your observation blankets each scene, but is never seen. The album feels cinematic, like a Dolly Zoom is keeping Leon in the center of the foreground within Los Angeles, shrinking then expanding behind him. The sky swirls from orange to blue, cars go as quickly as they come. Sometimes it feels like the city is telling his story behind him.
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