Review Summary: Sitting pretty in the pew was the love I thought I knew.2 of 2 thought this review was well written
Sometimes it is nearly impossible to not hold some sort of bias when listening to certain artists. No matter what Holy Vacants is going to end up sounding like, I am fairly certain it will be one of my favorite releases this year, and regardless of any mitigating factors I know I will love any piece of music Aaron Weiss’s name is attached to. While reviewing with any semblance of bias if often gazed upon despairingly, it would prove difficult to find a review that doesn’t imbue certain biases. When it comes to Aaron Trinkner, it does not make much sense to attempt to pretend there isn’t an inherent sense of bias regarding his music, as he is my twin brother. While this may seem to some as an insurmountable source of bias rendering my opinion on the matter useless, I would staunchly disagree, for the fact that Aaron Trinkner’s second EP Always Waiting
is another superb release should not be lost on listeners due to the mere fact that this reviewer happens to be a blood relative.
Trinkner’s use of minimalistic recording techniques are well known to those who have listened to but a single song released by this 19 year old songwriter, as all of the tracks are recorded on a household computer using usb microphones and free recording software. But don’t let this description serve as a reason to not give this record a chance. Through intertwining effects laden guitars and tasteful harmonies, Always Waiting
never has a dull moment. Songs flow effortless through unconventional structures all while having a sense of cohesion far surpassing any preconceived expectations. Album opener “The Names, The Faces, The Fears”, opens with a single guitar and reverb laden vocals, scooping and sliding through snaking guitar parts until a climatic build, backed by impassioned harsh vocals, almost too quiet to hear, yet loud enough to make the intended statement. This loud/soft dynamic is prevalent throughout the remainder of the ep, with songs constantly ebbing and flowing between soaring choruses and subdued verses.
This time around Aaron Trinkner forgoes using unconventional instrumentation, instead opting to manipulate the soundscape using different effects on his vocals and his guitar, a technique that makes for a more focused and definitive record. While there is a lack of “experimentation” in the sense of instrumentation, these five songs go places Trinkner hasn’t gone on past releases, be it the use of harsh vocals or his falsetto. An atmosphere is created on every track, be it the ominous album opener, or heavy “The Return”, the latter having one of the most interesting and all around captivating instrumental breaks Trinkner has ever recorded.
With Always Waiting
listeners are treated to an obviously matured lyricist in Aaron Trinkner. Gone are the occasional lyrical hiccups and awkward phrasings, as Trinkner seems to have meticulously penned each and every line. “I Won’t Wait” sees a pensive and vindictive young man sharing his soul ahead of simple clean guitars and temp changes. Every song on this ep deserves some sort of mention; be it the emotional climax of “My Pulpit” or the jazz inspired outro of “Carrying The Fire”, every song has at least one thing lending to immediate replay value. At a mere five tracks, Always Waiting
is by no means a chore to listen to, and given a chance, has the potential to become a record worthy of repeated listens.