marsan - Music For Agoramaniacs

Marsan

Music For Agoramaniacs
self-released; 2014

3.9 out of 5

By Ethan Skelton

Marsan is a man of many skills. There aren't many one-man bands out there that boast a full-length album so dense and rich as Music For Agoramaniacs. Marsan, for whom the band is named, laid down the tracks for guitar, drums, vocals, keyboards, you name it. He's just a guy from Illinois, but his musical market and ability stretch further than the confines of the Midwest.  This young multi-instrumentalist shells out a trippy collection of beautiful noise and song, where the two blur is really a matter of subjection. Creative approach and otherworldly tendencies are the theme on Music for Agoramaniacs so I might suggest getting in touch with your inner self and diving head first into this psychedelic pool.

Marsan creates a strange brew of indie rock folk. The tapestries of sound fall without much regard for contemporary structure. It's an incredible experience to let yourself into their mind through the welcoming charm of "Strain Theory."  The world around seems to start falling weightlessly with the melodies and shifting chasms. Bright bursts of strings and bells meander within the song delivering soft moments as well as large and intense. It all makes for a solid introductory piece, showcasing the explorations of Marsan as well as his sensitive musicianship. 

"Snow Day" sounds like a spacey Chris Issak with just a touch of the Beach Boys. What a comparison really, imagine the breadth of influence it takes to weave such a likeness to a seemingly intangible concoction. The drums and bass start off a punctuating ostinato and the guitar frenzies in response before everything melts back into a quasi-waltz electro madrigal. Whether you find you have a favorite track, you can't help but notice that they all play a part in a bigger picture. I feel this album is just one long journey that is marked with waypoints.

Where the standard length songs break are shorter gems meant to give segue and emote non-formative aural engagement. They work almost like non-descript enticements for a message that can only be understood once it's over. Instrumentals are abounded and ever contemplative, but it's not over the top and everything is done with careful attention to composition and balance. Call it strange pop if you will, but in its own realm there is nothing more unique or refreshing. Sometimes you have to get a little weird to shake the monotony of Top 40 and the social weight that comes with an oppression of the musical leftist. Marsan embraces that role and takes things beyond what would be expected. Especially for an artist that has only himself. Be witness to his work, you won't be disappointed.

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