fallen arrows - fallen arrows

Fallen Arrows

Fallen Arrows
self-released; 2013

3.7 out of 5

By Demiera Harris

I typically don’t listen to much country or blues music, but there is something intriguing and different about Fallen Arrows’ self-titled EP Fallen Arrows, something that makes me wonder what I might have been missing from the genre for all this time. Fallen Arrows gives us seven full-bodied songs that remember the roots of their sound but are unafraid to take chances and step a bit outside boundaries.

“Waiting On The Day” is the perfect way to start the album, a rather classic sounding song that lays a great foundation for what’s to come. It’s followed by “Don’t Think Too Hard,” a song that begs not to be forgotten, much as described within the very lyrics. Most interesting is how it strays slightly from the country motif to flirt with a purely edgier rock style, pulling back as quickly as it wandered. These flashes make more appearances throughout the remainder of the album, which many will find as a delight. 

There are certain characteristics that define and differentiate many of the songs here. “Bring Me Your Love,” while one of the more laid back songs on the album, features the most energetic solos found here. Then you have “Animal,” which ups the ante, with the whole song remaining every bit as fast paced as the name suggests. 

This may all be a huge coincidence, but I thoroughly believe “Wyld Byrd” was meant to be an ode to Lynyrd Skynyrd – and was convinced just a few moments into the opening riff. The oddly familiar spelling of the title and the word choice, along with the length of the song (over five minutes, while the rest linger around three) drive the point home. Of course, the band retains its own unique character and it is, at its heart, a different song, which makes it all the more interesting to listen to. 

Meanwhile, as the album begins to close, “Yip-Yai-A” takes the album down a notch with a lower, more dramatic tone not found in any of the other songs.“King Of It All” combines equal parts blues, rock and country, and power mixes it into a thick and wholesome end to the album. It does a fine job of tying everything together and ending the album on a strong note. 

Don’t judge this album by the genre tags – or assume that because you don’t necessarily listen to one of the elements contained within, that you automatically won’t like the music. This is an intriguing, modernistic take on classic styles, and is an enjoyable listen from beginning to end.

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