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.