I loved this double disc project, I listened to it objectively...here we go !
September 2010- the minor fall:
“It goes like this the fourth the fifth-
the minor fall The Major Lift-
The Baffled King composing Hallelujahs.“
These lines from Leonard Cohen’s 1985 anthem Hallelujah are the title source for these two powerful CDs from tears of mars, a family rock band based in Joppa, Maryland. Like Cohen’s song- which did not become a major hit until a decade and a half after its original release- the music made by tears of mars is also ahead of its time- theirs is the sound of rock’s future, not another replay of their past influences.
From the 88 minutes of excellent and compelling music on these two CDs, I predict tears of mars could become be a very influential American band in the next few years. Their music is the sound of the future of alternative rock- rich in sonic texture, with intense musical dynamics and layers of lyrical meaning. tears now has the potential to still be interesting and relevant in future decades. With these discs, tears has proven themselves as original and versatile as the most enduring alternative bands, such as U2, REM, or the Cure. The future of this band’s career is even more assured, since all five members of tears are also brothers.
Even though these brothers were born in the 80s and 90s, they each play with the maturity and professionalism of more seasoned rock musicians. This band has already produced and released an astonishing amount of music and video in the last four years: a total of three full-length CDs and one shorter CD between 2007 and 2010, with the members doing all the writing, arranging, and art work themselves. the minor fall and The Major Lift are two brilliant CDs, with even the band’s artwork containing layers of meaning: The first CD has a black background with white graphics, the second a white background with black graphics, a message of opposites in art and music. Appropriately most of the songs on the minor fall are in minor keys, and those from The Major Lift favor major keys. These two CDs form the band’s creative output for the year 2010. A full length high definition concert video with a dramatic, action-packed concept movie will also be available for release in Spring 2012.
Here is a track-by track review- starting with:
The minor fall:
1. Dracul (an eternal love story) is the opening track on the minor fall- and the first bars of music you hear from this guitar-based band are actually a digital grand piano- descending minor scales played by the keyboardist and youngest member- Judah Orsie. His technique is more classical than rock, and this creates a spooky horror movie background to start off this CD. Then Josiah and Luke Orsie crash in with their distorted guitars, backed up by the other brothers Micah on bass and Elias on drums.
The second theme of this piece sounds more like the classic band Rush, with their jagged yet precise timing- heavy chords punctuated with half seconds of silence- even the feedback filling the silences sounds perfectly engineered. Dracul is the kind of instrumental that stays in your head- electric, unnerving, and a powerful rock concerto condensed into just over three minutes.
2. Bottles and Liquid:
“Time, you know, it’s long way down-
All the roads you take lead to nowhere…
It’s sad how we get addicted…”
This next song begins with a bass line and a subtle echo that builds with precise drumming and dreamy electric chords. Josiah’s voice then comes in with long syllables and a calm subtlety in the verses but gains intensity in the song’s chorus, which builds on three layers of electric guitars. The title itself is very poetic- taking something as banal as liquids in a bottle and revealing their sinister meaning in the damage that alcohol does to those who are intoxicated by its lure. The bridge at the end of the track also begins with strummed folk chords that builds into an electric crescendo with emotional vocals and jarring feedback- a fitting coda for a song of emotional desperation.
3. Simple Instructions:
“Child innocent- born into sin-
It’s not your fault and it’s not your choice-
You know you can hold Daddy’s hand
One here on earth and one in heaven…”
Simple Instructions starts off with a droning keyboard, quietly background drum beats, and clean electric guitar notes- and true to the tears style builds into two other moods- the second with grungy guitar distortion and frantic drumming, intense vocals with these words of warning: “You must protect yourself…” then a third sonic setting with ambient electronic chords and effects changing the song again- with a slow heavy beat and dreamy vocals- ending with one of Luke Orsie’s famous “loop” sounds fading out.
This song stretches to almost 6 minutes, and its different moods reflect the contrasting emotional states that all new parents go through when their first child is born- from joy and relaxed tenderness to fear of the unknown future to the strange changes that effect these three lives. Instructions is an appropriate title since the creation of a new family situation is never so simple. Yet there is a strong spiritual message in Josiah’s lyrics- trust in the God that created new life to sustain both the child and parents. This song was written for Josiah’s daughter Sophia, born in 2010.
4. Sojourn:
“Everyone’s got a plan-
Something to help
Help them understand the Pain…”
Sojourn is a gentle electric waltz in 6/8 time- with a beautiful guitar melody and light bells played on the keyboard. The slowness and deliberate rhythm is a great contrast to the other songs on the CD- Especially poignant is the imagery in the chorus:
“And to keep out the dark- we’re a light without batteries a match with no spark- but we’re not gonna die…. tonight.” Josiah’s vocals are clear and strong here- the way he holds the word “tonight” for example is especially powerful. Luke’s distorted guitar drone is not expected- and makes for another surprise ending.
5. The Fear:
“With the Fear comes knowledge…
Don’t you see you can hold on to me
I’m the Fire, the Wind, and the Sea-
I’ve got you covered..”
The Fear starts out with a beautiful repetitive guitar and bass riff that brings to mind the best 80s melodic rock bands- like REM or The Church- but unlike the constant sound of these bands tears offers the listener more contrasts in five minutes than some bands offer in an entire side (back in the 80s we flipped cassettes.) Again the guitar sounds change dramatically during the chorus- which sounds more like a 90s song- Smashing Pumpkins and Soundgarden come to mind. Then there is the third movement for the fade out- no words, just gentle bass, ambient retro keyboard chords, and breathy vocals- with a sound that recalls 70s progressive rock like Genesis or perhaps Moody Blues with the now vintage Mellotron sound. The musical instinct of this band is amazing- since they can blend three decades of sounds into only one song. The lyrics are also powerful- since it is the Fear of the Lord, not the fear of man that Josiah is singing about.
6. Torn Between the Two:
“People say that I’m no good for you-
They don’t know me like they think they do…”
This song offers yet another contrast- now it is just Josiah’s voice and his acoustic Taylor guitar. He counts in the song “one two three four” to give it the demo effect, and his lyrics are clear and very understandable here. The guitar here sounds like a recording made through a room microphone, and not with cables- this gives the listener the effect of “being there.“ Josiah’s unaffected melody brings to mind 90s folk rock singers like Michael Penn and Paul Westerberg that once were the rage on VH-1. The melody here is better than the words, which contain some predictable rhymes.
7. Reconcile:
“It feels like I can’t live without your love-
If I feel that you don’t feel the Same…”
Again what we hear in this song is a contrast in sound- the vocals on the verses are treated in the recording to sound like they are coming from a tinny PA system or old AM radio. This effect alone gets the listener’s attention- then for the chorus the Big Sound comes back- the full guitars and crashing drums which sonically disintegrates into sound elements- is that a guitar or a voice I hear?
8. Pickled In:
(quote withheld)
This song is somewhat spooky- with another new sound- this time a slide on Luke’s electric guitar “torturing” the strings- up and down while the bass and drums play around the simple contrast. Then for the chorus a new guitar texture- Luke again proving that he has more sounds on his telecaster than an orchestra. Great cryptic title, like The Crunge (Led Zeppelin 1973)
9. Kings to Pawns:
“I was King and now I am nothing…”
My Kingdom fell I lost … my crown was stripped away.’
And how the mighty have fallen. This song captures the anxiety and instability of 2011: Year of Revolution and Occupation. In Libya, at least, the Evil King is Dead, killed by his own subjects- as the Arab Spring- the Tunisian/Egyptian/Libyan/Syrian Revolution spread across the map and over the ocean. By the Summer there was an Occupation Village in Manhattan- who could have foreseen this one year ago? The feudal imagery of the song’s sparse lyrics paints the Old World Order of the Ancien Regime as an unwanted relic of centuries past. The metaphor of politics as a chess game lost to a pawn also describes our present time, or any other in history.
Epic and sublimely poetic, this is truly a beautiful rock song- with rich piano sounds over the droning electric layers that define this band’s signature sound. Then a second of silence and the contrast again- the guitars become more basic- then the crescendo in the vocals- there are not many words to this song, and Josiah pushes meaning into every one of them. Again a treated spoken vocal- apocalyptic, frantic drumming, engineered distortion, a science fiction movie sound- then s i l e n c e. End Part One.
tears of mars
September 2010: The Major Lift:
Tears is the only band I know to have the confidence to release over 86 minutes of music in one package- so early in their career. Only two years after their first full-length CD “Equity” in 2008, tears is now making truly adult rock music with rather heavy themes. Most major bands or artists need to wait until their financial backers- the (nearly obsolete) Major Labels give them the money and permission to release a double album. All the classic double LPs of decades past: Electric Ladyland, Blonde on Blonde, Tusk, The Wall, the White Album, etc were released only after these artists had established themselves. (To my knowledge, the only band to debut with a 3 CD set was an obscure American band called The Early November, back in 2006, and this set made rock history. In the 1970s and 80s, the double album was usually a live album, and usually released about five years into a band or solo artist’s professional resume. Usually an artist required at least two or three hit single-disc albums to get to the “double live” stage.
American Rock music has now reached its Seventh Generation- (counting from the mid-1950s) and the recording artists are now more in control of their music than in years gone by when recording anything was an expensive proposition. stion finally in control of their music and car full control. The industry is no longer driven by market forces, as many bands and artists throughout the world in all genres of music now create and distribute their own music, videos, and promotional products. In the case of tears all of the artistic decisions are made within the family- so this band is uniquely privileged to have been together all their lives.
Since tears is a family group- I
would consider their ccompare them to the best and most original family rock group in history: the Bee Gees, who were professionally active as singers and songwriters from the late 1950s to the early 2000s, longer even than the Rolling Stones. Younger music fans are generally not too familiar with this group’s iconic and brilliant 60s and 70s pre-disco LPs. They waited until their fourth international release to have a double album- Odessa. At that time they wrote and recorded material that was even better than the Beatles‘ work at the time. The Gibb Brothers, however, also wrote many forgettable and trendy songs. The Bee Gees were victims of their own success, losing their creativity to be more “popular.“ They were also influenced by their producer and manager, Robert Stigwood, who sacrificed their musical brilliance by the late 1970s to make them a Brand Name. As tears’ Josiah Orsie states on Disc 2 “he had their front but not their back.“ I give credit to the Orsie brothers and their father Patrick for avoiding these pitfalls, and making the best music and the best live shows they possibly can perform.
I mentioned the Bee Gees here as an example of what tears is not- a family group controlled by an outside music mogul. Tears, by contrast, makes their own decisions about the music, the video, the art work, and their merchandising. More than any other band I know they control their own image, which shows a great deal of confidence for young men born in the 80s and 90s. The art work on the CD package, for example, is strikingly original, with what appears to be a black feather, or even an ink blot over the outline of a circle, with another creatively drawn smudge to the right- curved like the groves of a vinyl record, or maybe tire tracks run over the original cover- giving this new music a subconsciously “used and familiar” feel, sort of like the ring wear that marks many LPs in heavy cardboard jackets. All of this simplicity shows a deeper artistry.
And then there is the ubiquitous (look this word up dear reader) mystical tears of mars symbol- three dots over posts, each shorter than the last, intersected by a straight line of unity. There are five members, though, not three, and the three-as-one aspect of the symbol shows perhaps a Third Millennium this original symbol may be a new way of writing the mystery of the Trinity. This symbol also appears in their first concert DVD as a message to the watcher to look deeper, inspired by the mysterious symbols in computer games of search and discovery… The two band photos inside are Black and White, with the faces of the brothers in shadows, or appearing in silhouette against a background of white smoke. The CDs themselves are Black and White as well, making it very easy to know which one of them you just put into the player. Bassist Micah Orsie is the album’s conceptual visual artist, not even mentioned in the credits.
1. Shot to Heaven:
“Born and raised to take the cake-
No-one can stop you now…”
The distorted guitar and slapping drum come in right away- sounding distant, like the sound is from a cheap speaker in the next room. This “low budget” sound actually reminds me of U2’s masterpiece Achtung Baby from the early nineties. Then the rest of the band comes in and you hear the full spectrum of the band’s sound- a metal guitar riff here reminds me of bands like Stone Temple Pilots. The Instrumental break, however, comes in very differently- the tempo slows and the guitar solo is clear “Born and raised and melodic- then swiftly changes back to the rapid fire tempo of the verses- with another completely different sound- a trebly distorted “classic rock” guitar solo, then back to the slower tempo for the coda. This song is a prime example of tears mood changing style, articulated in almost every one of their songs.
2. Unfeigned:
“You woke up fast from the radio today-
You heard the news You got dressed and on your way
And in the car- through the static heard them say:
’We’re out of hope-’ bombs will fall- it’s Judgment Day.”
Unfeigned begins with a light slap of chords on an acoustic guitar, followed by a haunting choppy electric and musical bass line underneath. When the lyrics come in, you understand that this is more than just another rock song- the lyrics are serious, frightening, yet also inspirational. The first verse sets the scene: someone is waking up to the radio, getting dressed, leaving the house, and driving to work- then this person suddenly realizes that this “ordinary day” is the end of History. An electric guitar effect punctuates the first words: “You woke up fast from the radio today…“ Then the last words of each line are double tracked- with Josiah singing harmony with his own voice, but only with certain phrases.
All these musical details prove that this is a very creative and musically intuitive band. They give us 19 songs to listen to- and yet produce each song with a different method- so each track is different from the others. ood or are determined to give show that the band is very intuitive and creative- and determined to make every song sound different. This feat is difficult for any band to accomplish- and this is even more amazing for tears since they have the limitations of working within a traditional rock band format- guitars keyboards, bass, and drums- and only one vocalist throughout all 18 songs! (Remember Dracul has no vocal track.) tears and producer Scott Ensign have produced a very focused and musically diverse collection, given the limitations of only using rock instruments and the efforts of six individuals.
The other fascinating aspect of this song, and almost every song in this collection is the variety of musical moods within the song- in Unfeigned alone I counted five distinct “movements;“ 1) the Introduction with the acoustic slap and choppy electric chords, 2) the drum and vocal dominated verses, 3) the “acoustic instrumental bridge” with the “Ahhh…” vocals, 4) The chorus, with its loud electric riff and more intense vocal treatment: “Without love…its just hate repeating..“ 5) The second “electric instrumental bridge” between choruses three and four.
Each of these movements sounds like a separate song in itself- and much musical magic is realized with only guitars and electronic effects. Unfeigned ends with a subtle screech of feedback, an artificial, modern electronic sound which is jarring, unnatural, and anxious, like the theme of the song itself. The sonic difference between this “anti pop” coda and the tightly played rhythmic intro to Hit which follows defines the best in musical contrast. This sounds like a radio playing tracks from different bands with three seconds of silence between them. minor fall/Major Lift reminds me of another epic 2 CD album which exploits the contrasts of rock music to keep each song interesting; Mellon Collie and the Infinite Sadness by the definitive 90s American band The Smashing Pumpkins.
3. Hit:
“Stop right there and close your eyes-
Think of things that you could BUY…
Sign up right here on dotted line-
I’ll take what’s yours and make it mine-
We’ve got your front but not your back…”
“Hit” is really an anti-Hit, a sharp poke at the foolish excesses of the entertainment industry, the Industry that turns music into a product- and makes the personal names of talented artists into Trademarks. I am reminded of the legal maneuver that William Martin Joel did in the 90s by trade marking his own name: Billy Joel TM. When someone is only known for the sound of his voice or the lyrics to his songs the person himself vanishes into part of the Industry. This has happened to so many big name musicians and actors who have sacrificed their independent identities for the sake of their careers.
This song’s vocals are treated to sound artificially “television media,” like Josiah is advertising something in an infomerical. When he sings, “You say you don’t want to be like that…” the voice is more natural. I appreciate the way he rhymes “diamond rings” with “plastic things” like they are comparable products being sold to the gullible public. The entire Industry becomes the product and the salesman selling it to you. The use of the term “click track” (an artificially generated click sound on the first track of recorded music designed to keep the music in perfect rhythm) echoes the mass production element of much popular music of the last few decades.
I noticed the shake of a tambourine after the word “No” in the chorus. Then the drums play a snare riff and Luke’s guitar “gently weeps” for the “mood
change” in the instrumental break. Then a pulsing rhythm guitar leads into the coda, and a final jab at the Industry: “You can’t control me with a pen.”
4. Tightrope:
“So you went to school you learned the Golden Rule-
You think you’re safe inside the Matrix..”
Tightrope is lyrically similar to Hit in its condemnation of the system that does not work. Being true to your values and following your own calling is a serious balancing act- like a tightrope walk in this society and economy. The use of the term Matrix is effective in describing the artificial safety net that surrounds us- which we assume can catch us if we fall off the tightrope. It takes bravery and persistence to walk the tightrope, and the video image of Josiah tied up in ropes like an insect in a spider web is chilling. The video for this is very original and amazing- as it was shot in a tightly confined space with only t, white sheets, and the rope. It is perhaps the best video I have ever seen without major-label financing. The production of this song is smoother than any other in the collection- it sounds more like a Hit than Hit. Tightrope has a recognizable hook and pop brilliance that is often reserved for much dumber songs. My friend attended a tears performance in the summer of 2011 with no knowledge of the band. He remembered the chorus to Tightrope six months later after hearing this song once- that is a real credit to this band and their dedication to original and meaningful music.
5. The Hand:
“We try we try so hard to make it on our own-
This human condition gets us nowhere-
The general position where we stay gasping for air…”
Poignant words and a powerful rock drive. The notes on every line are held to the end of the measure…However, some of these words are obscured by the sound of the other instruments- the brief acoustic guitar break before the solo is beautiful, but the rest of this track seems too dissonant and heavy for the lightness of the words. The Hand in question is the hand of the Lord. A song of hope with a heavy rock atmosphere.
6. Someday Soon:
“Brace Yourself we’re going down
Don’t make yourself hold on
Hold your head high be strong…”
Someday Soon is another song of hope. Even when we fall out of love, the strength is still there to pull us through. This song has a very classic 70’s feel- with the acoustic guitar and shuffle drums sounding like the softer side of English Big Time Rock. Elton John, Rolling Stones, Fleetwood Mac all incorporated this softer sound in their most classic albums. I love any music that reminds me this much of that Golden Age of Vinyl.
7. Mother (high hopes):
“Bright and Beautiful you took me in when I was scared and all alone”
…You give your life as a sacrifice to another..”
Heavy and precise drums and sparse melodic piano lead into another song of hope for The Major Lift. Lyrics that speak of love and human blessings. This chorus is rich and serene even with the drums and guitars in front of the musical mix. I love the way the electric guitar echoes into the simple piano chords. Then the change of mood in the instrumental coda leads into a screech of feedback. From the precise intro to the chaotic outro this sounds like two distinct songs.
8. Secrets:
“Secrets never travel far-
Would you know I don’t recall-
I don’t care what was created
You can keep it too yourself.“’
The feel of this song is better suited to the minor fall. Secrets are best kept in minor keys, and hidden places of the subconscious. There is a weirdness to this track that sets it apart from The Major Lift. The bridge section in this song again morphs into a different type of song- major chords and suspensions with indistinguishable mutli-tracked vocals. This alternate mood should have been expanded to fill more time on the track, since it sounds so haunting, appropriate to the title. The brief coda is another mood entirely, an example of the sonic variations tears can fit into one song.
9. Fire Escape:
“Run if you can smell the smoke
And if you can feel your lungs then hold your breath
I know it’s hard when everyone around you is flame proof
but don’t give up- the worst is almost over..”
If Someday Soon reminds me of the Rolling Stones- this track sounds more like Beatles, who have left their influence on every band since. Luke‘s guitar progression here sounds like George Harrison, from the later albums. Credit must be given to this band for not sounding too much like other bands- but a Beatle sound here and there is always welcome in modern music. Josiah’s voice here sounds like 1990s alternative singers such as Thom Yorke (Radiohead) or Ed Kowalczyk (Live).
Fire Escape is a very unique track. Another song of hope- not the “fire” but the “escape” is the critical part. The fire imagery here also reminds me of Sojourn on the first disc, where the match has no spark: “What you don’t need is a match, what you need is water…“ The classic rock sound of the guitar and drums here fully compliment Josiah’s dissonant descending melodic line. Sometimes. However, he has the tendency to hold the syllables of the lyrics too long- without rests in the music the words become harder to understand, and the other instruments become less effective as well. The coda is again very different from the rest of the song- finalizing with a repeating melodic effect on Luke’s guitar that sounds decades away from the Beatles.
10. Twinkle (I Cor 15:52)
“…in a moment in the twinkling of an eye- at the last trumpet. For the trumpet will sound and the dead will be raised incorruptible, and we shall be changed.” (I Cor 15:52)
I personally believe that every work of music or literature should have a thread of scriptural connection. Even though tears is a secular band, they include a New Testament verse to compliment Leonard Cohen’s subtle mention of the Psalms in Hallelujah. If they could have secured the performance rights to this song the band should have included Hallelujah as song ten, with Twinkle as track eleven. It is noteworthy that this collection starts and ends with an instrumental. You need to hear Twinkle for yourself- so buy these two CDs… this track does not have words- just voice, band, and hand claps…and then silence again.
