Steam Haven is based in Chicago and formed in 2014 by Logan Wright (vocals/guitar/keyboard) along with long time high school friend Corey Schuldt (drums), and college friend Stacey Simcik (vocals). The band made its performance debut at Billy Corgan's tea shop Madame Zuzu’s as an acoustic act in 2014. Soon after they were joined by Jordan Smith (guitar) and Michael Lough (bass), both friends of Schuldt, to fill out the sound on their studio recordings. Wright and Schuldt are the primary active members with the other three taking part when able. Steam Haven has performed at various venues and for a year headlined a monthly Friday slot at Lilly's Bar in Chicago. But it was not until recently that they were able to focus on the band and release a debut.
Last Want for Sadness was recorded, mixed and mastered by Matt Motto of Black & White Music Services, Inc.(now known as Formless Audio), based in New Lenox, Illinois. There are also many guest musicians who played a part in the recording. The album is an emotional journey through love, longing, sadness, lust, hope and wonder. As emotions vary, so do certain sections of the album. The idea behind the name Steam Haven is that it is a place comprised of people's memories, emotions and stories, including the band’s own. The band acts as conduits and pulls from this place to reform abstract feelings and ideas into songs, largely allowing their music to span a wide range of sounds and instrumentation. Progressive rock, indie and metal are the band’s choice of styles. Porcupine Tree, Radiohead, Pain of Salvation and The Smashing Pumpkins are some of the group’s major influences. The opener “Beast” has got great intensity, filled with lots of punchy drum fills, melodic guitar riffs and a hard rock operatic vibe. Moving on, “Glass” is a song that mixes a fresh hard indie sound with flourishes of progressive and driving acoustic guitar rhythms. Overall, an inspirational sound with nice additions of the violin by Johan Becker. “Lunacy” begins with a full acoustic sound and crazy good drum action by Schuldt. A very alive song with plenty of energy and a great guitar solo, too. “Break Away” features an operatic voice sung by Lesley Hellow, and a strong electronic beat/claps structure. This was an interesting mix of styles both old and new. “Owned by You” features a lively beat, quite danceable and intense, and then some metal guitar, ‘80s synths and acoustic guitars round out this dynamic number. The album’s title track “Last Want for Sadness” throws into the ring – congas, a harp via the keyboard, vocals piped into some electronic voice enhancer and a violin played by Haley Engle. Stylistically, this song was very orchestral and progressive/new age – I liked it a lot! Opposite of this lighter, loftier sound is “The Ugly One” – a song that dips into a progressive metal style. This one kind of reminded me of a mash up between Smashing Pumpkins, Evanescence and Sarah Brightman (well, that’s if Brightman was a bit more metal). “Still Lovely” is another acoustically driven tune with a warm bass tone and an overall indie rock sound that’s haunting and reminiscent of late ‘90s and early ‘00s bands. “Body Bend” features an intricate guitar riff in the beginning and a round of menacing vocals that caught me by surprise. The vocal part was sung by David Dubenic. It sounds like it was layered or overdubbed, giving the song great texture. Josh Dema is also present on the cello in this somber, dark number. I think this one was my favorite – there was just something about it that set it apart from the others. “Paint Me” has a definite mid ‘90s post-grunge, progressive metal edge to it, a la the Smashing Pumpkins but without the song being overbearingly obvious. Great energy! “Beseech” starts off with tender, beautiful guitar playing but then the group quickly changes pace and direction, between rim shots and a full drum set playing, acoustic to metal guitars – there’s a lot going on here with the change ups. Some parts felt like the flow of the song was chaotic and disjointed, but that didn’t keep me from listening all the way through. “The Meaning” features some nice keyboard work by Wright and more fantastic orchestral strings playing. The band lays down some heavy metal guitar as the strings build with more intense emotion. Something within this sone is very climatic, as if the characters and/or love story reaches a breaking point. There is a short bass solo played by Michael Lough here too and then the band returns with more intensity. This is an awesome tune which I thought was Steam Haven’s finest moment. The band’s last track “Cayenne Lovelies” is a soft, ethereal song with classic sounds, congas and keyboard piano. The melody and structure sound maybe like Spandau Ballet, David Byrne or Joe Jackson – no, that’s not it – but along those lines? Anyway, it has a certain sensibility that says classic early ‘80s, but with the band’s own unique sound and arrangement. Last Want for Sadness is by far a jam-packed, full-length album with plenty to offer. For as many guest musicians that took part, not to mention the band itself being five members, the chemistry between everyone was truly phenomenal for a debut.
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