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Written
by Mike Yoder, posted by blog admin
Man Called Noon’s third studio release, an EP entitled Everybody Move, is a
redefinition of the band’s sound and approach that finds the eight member
outfit refocusing their efforts on perfecting their mix of singer/songwriter
eloquence and guitar driven indie rock. There are strong alternative and pop
music influences percolating through what they do, but the band isn’t an unit
happy to take shortcuts and relying on the lowest common denominator to win
over new admirers. Each of the three songs on Everybody Move has a different
music spirit despite the guitar and rhythm section attack being the consistent
center of each arrangement. The band works in an impressive amount of color
thanks to additional instruments and some astute production choices, but the
extra backing vocals often supporting Anthony Giamichael bring a extra layer of
difference to the presentation that sets them further apart.
“Everybody
Move” is a fine title song and a perfect opening for the EP. James Marino’s
guitar playing takes on a compositional role but emerges from the mix for some
nearly lyrical moments with a near ideal sound. There’s some lovely electric
piano work from keyboardist Nathan Crone and Giamichael’s wide open singing has
an effervescent pop bounce without ever lapsing into cheesiness. “Kiss Kiss
Bang Bang” takes things in a much more rugged direction, but it has a hard soul
and funk colored side that the band pulls off convincingly. Marino’s guitar
playing takes more of an upfront role with this song, but it’s still clearly a
band effort as the bass playing and drumming stand out more here than we heard
with the title cut. The production characterizing the first two songs is an
abiding element of the release as a whole – assertive, yet distinct and never
attempting to overwhelm listeners. There’s nowhere on Everybody Move where the
production serves a greater end than this song as it puts it up in the audience’s
face without ever artlessly banging them over the head.
“One
Last Ride” wraps the EP up on an appropriately retrospective and inward looking
note. If Everybody Move serves as an introduction to what an re-envisioned Man Called Noon is capable, this song is the concluding paragraph and straddles
a line between being a demarcation point of sorts from their past as well as a
go for broke avowal to follow the muse wherever she may lead. There’s real fire
and life on this release we customarily associate with debuts, but the
assurance here speaks of a tested outfit ramping up their game for the next
chapter of their existence. Everybody Move will get everybody moving and its
undeniable strengths will win over a bevy of new followers for Man Called
Noon.
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