Portland musicians Matthew Blount (lead guitar) and Chantel Bailey (vocals/guitar) are the core of MARBLE, and they’ve just released their debut album titled the shadow in me. First formed in 2016, this current iteration of the band features contributions from a group of talented local musicians. MARBLE describes their music as “a stirring rock sound, touting dark soundscapes and emotive vocal performances amidst melodic hooks. MARBLE’s unique flavor of melancholy is the product of emotional deep dives, spiritual deconstruction, and the bold belief that our shadows connect us. MARBLE is, in one word, a mood. MARBLE is equal parts haunting and cathartic, and will leave you feeling deeply introspective.”
Recording took place in several locations over a year and a half, but Covid forced the group to do the bulk of their recording in a basement at home, working remotely with producer Jonah Cohen, who also contributes bass, drums, synths and additional instruments. Mixing was by Random Eggleston (Modest Mouse, Dandy Warhols, The Mountain Goats) with mastering by Ed Brooks (R.E.M., Fleet Foxes, Pearl Jam). The album is available in several formats: CD, cassette, vinyl or download. This type of album is difficult to review: as the group says, much of it is about conjuring and sustaining a mood in the listener (though many of the tracks are relatively short). The phrase that comes to mind is “dark dreamscape” as it feels a little too murky for straight dreampop. I kept thinking of the backroads of Mordor in a night filled with volcanic red clouds. Among the influences they mention are Emma Ruth Rundle, As Cities Burn, The Dead Weather and Radiohead. The sound of the band is mostly Matthew Blount’s churning guitar textures with Chantel Bailey’s vocals taking center stage, with one bravura performance after another. She’s been compared to Florence Welch, P.J. Harvey and Dolores O’Riordan, while I hear traces of Sandy Denny, Joni Mitchell and Meg Myers. “the tower” sets the group’s template from the very first note. Blount and producer Cohen create a thick miasma of guitars and synths at a deliberately slow tempo, over which Bailey adds her beautiful, trilling vocals. This track has a definite Radiohead vibe, as the guitars have a hint of jangle even within all the fuzz and reverb. “victor bells” is a bit faster and jumpier, with the guitar and keys kind of swooping around like an analogue synth. The lyrics here and elsewhere are surprisingly spare, saying exactly what’s needed and moving on, without ever feel shortchanged. Thematically they feel a bit like “Lord of the Rings” or “Game of Thrones,” but that may be my own bias. “space holds meaning” is an especially short track (just under a minute) that features a Bob Mould-style guitar riff and no lyrics. This actually turns out to be an intro to the next song “red room” where Bailey’s vocals echo the newly popular Kate Bush: super dramatic with a big, witchy-sounding build. The lyrics are mostly the repeated phrase “I can’t get it out of my head.” This song also features the addition of a mellotron-like keyboard. “axis” is framed by trudging molten fuzz guitars (or guitars with deep synths) way beyond heavy metal. This is one of two songs featuring Skyler Mehal on bass and Tom Noble on drums. “marble” has more of a rolling, thundering beat, is named after the band, and is one of the album’s featured singles. That makes sense, as it follows traditional song form more closely and has a beautiful but chilling chorus, followed by a classic hard rock finale. “end of the world” is more like synth pop and is a cry from the burning front lines of climate change. “sleep” features William Mapp on drums, changing things up with beautiful acoustic guitars and especially dreamy vocals and harmonies. “quiet mind” is among the most scary tracks: musically it plays like the soundtrack to the movie “Tenet” where the music was designed to sound the same forward and backward. There’s talk of ghosts, and at one point the vocals sound like they literally come from the other side: “How much longer must i chase a ghost? / she stirs the devil in me in this blackened room / oh hear my plea / lest i become a ghost.” “feeling is fleeting” is another 59-second interlude with echoed, disembodied voices, which leads directly into the finale “deadwood” again featuring Skyler Mehal on bass and Tom Noble on drums. There’s no big surprises here, but it’s another wonderful iteration of the MARBLE songwriting and musical style and a fitting end to the collection. If you’re in the mood for dreampop with a darker spin, clap on the headphones and give this band and album a listen!
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