Review Summary: It's definitely a Copeland album.
What is it about Aaron Marsh's Copeland that is so beautiful and engaging? Sure, the band can play their instruments, but it's not superb musicianship or complex arrangements that continually attract listeners. Perhaps it's Aaron Marsh's melodically spiraling vocal lines, or the band's inoffensive composition and themes. Whatever it is, Copeland's sophomore album, In Motion
is a canvas for soaring pop rock songs as enchanting as they are simplistic.
Drummer Jonathan Bucklew counts in the captivating and almost-agressive opener No One Really Wins
, which sprawls into staggering full-blown verses and an implausibly catchy chorus. Marsh's previously exceptional vocals are taken to new heights, as he slides effortlessly between his mesmerizing falsetto and his almost Cove Reber-like tones. Classic guitar riffs provided by guitarist Bryan Laurenson in songs such as the foot-tapping lead single Pin Your Wings
provide an appropriate backdrop (key word: backdrop
) to Marsh's alluring harmonies and Bucklew's unintimidating beats.
Along with the before-mentioned No One Really Wins
, the relaxed and memorable You Have My Attention
fights for the title of In Motion's
strongest track, while weaker tracks with dry and poorly executed lyrical concepts such as Sleep
and You Love To Sing
break up the record's consistency. Lyrically, Marsh is caught between brilliance, and well, inadequacy. However, to provide an example of the former
, I provide an example from the piano-ballad lullaby Kite
"Floating and fighting, like a kite on a string
Till you cut through my tether and changed everything
And when they say that I'm just a terrible kite
You'll tell them you're proud of my marvelous flight"
Love Is a Fast Song
is undeniably the most aggressive song the album, and the most lyrically ambitious ("You should not be angry if all she wants is your money/You should not be angry 'cause all you want is her body/What has love become?") with it's soaring chorus and distorted riffs. Other tracks of importance, such as the beautifully brief Hold Nothing Back
are simply crafted and well-presented, all while giving little more then an acoustic guitar and Marsh's heavenly (yes, heavenly) harmonies.
Conclusively, In Motion
is amiable, accessible and simple. It is perfect place to start for a new Copeland fan (just like all their other albums), and is indisputably Copeland's quintessential record (just like all their other albums). As long as you don't expect a genre-redefining record (or even a Copeland redefining record), you're undoubtedly going to enjoy In Motion.