Not everything moves in a singular straight line, which could be said of Benjamin Booker’s new album LOWER (Fire First Records). Booker’s breathy vocal delivery is searing throughout and never seems to get old here. Even when his voice makes a much more dominating entrance on “Pompeii Statues,” we still get that airiness but it’s so captivating. Many probably wouldn’t expect LOWER to flow the way it does but with the help of Hip-Hop producer Kenny Segal who might seem as if he’s out of his depth, the final results are quite fitting, melding minds together that you probably thought shouldn’t.

MOGWAI – THE BAD FIRE

We could age ourselves here and I can refer to the first time I ever encountered Mogwai, the Scottish post-rock outfit confounding critics with its first release, Young Team, back in 1997. The band, then a quintet, controlled the stage after Grandaddy – another press darling with a new album, murdered its set down on Avenue A in NYC. But after all these decades and albums, would the group be able to hold onto its innovative songwriting?

The four-man team of Stuart Braithwaite, Dominic Aitchinson, Martin Bulloch, and Barry Burns has just released its eleventh long-player, The Bad Fire (Temporary Residence LTD.), leaving lots of room to breathe. One notable aspect of Mogwai is its ability to shift dynamically and control the atmosphere around it. There’s never a need to bludgeon instruments from track to track. Given, the band can be docile but also exit its confines like a roaring lion. The one thing about The Bad Fire though is how the band sometimes takes its time in building on its song structures as they may eventually crescendo. “If You Find This World Bad, You Should See Some Of The Others” might be the perfect example of its docility to animalistic prowess. At almost seven and a half minutes, Mogwai eases into things with sparse guitar notes caressing a beautiful melody. Although infrequent, the percussion is thunderous right before the drums follow a rhythm pattern. But it’s the eventual build-up that we’re here for and it’s magnificent. After all these years, Mogwai still has the ability to move your emotions, drawing listeners into the music created. All this is just in one track.

The band has this capability to mesmerize through sound, and nothing more clearly defines that than the opening “God Gets You Back” with its repetitive keyboard notes that have other instruments building around it. Its piano is merely the track’s base as Aitchison’s bass guitar drifts atop of it as Burns’ flute(?) floats around as well. Things begin to take shape as the momentum shifts and we can hear Braithwaite’s voice in the distance with minimal vocal interplay, which suits the band just fine. Here it seems keyboards are the key elements and Burns makes the most of it. Guitar or keyboard effects toy within, extracting wondrous emissions of sound. There’s a repetitive nature to the band but it never becomes repetitious, and it’s obvious the band knows that. The melody is breathtaking, leaving very, very, little room for discontent. There’s never a doubt that Mogwai has always been an interesting listen, and even when the band moves in a straight line, there’s bound to be some sort of sonic exploration. While “Fanzine Of The Flesh” is really easy on the ears, the band allures with its shape-shifting guitar chords and wall of sound, creating interesting tones and drawn-out guitar wails that fit together perfectly.

The Bad Fire contains 10 tracks of powerfully evocative tracks, and while it may seem I may have barely scratched the surface of the album, the album burns with the fiery burden of a thousand suns. I initially thought Mogwai was due for just an adequate release but the band has proved me wrong. We can all be thankful for that.

RISLEY – UMBRA PENUMBRA

My unfamiliarity with Portland, Oregon’s Risley might be a good thing to not come in with any sort of expectation and that’s fine. Remember, it’s ok not to know everything or everyone. This whole fake-it-till-you-make-it mentality is ridiculous, but I digress. With that said, the 4-piece band just released its third album, Umbra Penumbra, and the band is, well, different than what you might think it is if you in fact have come in with any preconceived notions about it. You probably didn’t but I’m just putting it out there.

While Risley may pull elements of its sound from UK influences, it is reminiscent of an era where both American and UK bands seemed to be faux-indie darlings. I’m referring to the early 2000s when I seem to come across several groups eager to latch onto a sound and look that would find approval with a select group of fans, and the media embraced them. Now while I may not have been a fan of many, I am nostalgic for the few. Risley fits the bill here with its new album, because, again well, the energy surrounding it is fun and endearing. Straight out the gate, “Breadcrumbs,” capitalizes on that with Andrew Meininger’s bouncy drum pattern. The song’s infectiousness is palpable. Of course, you can get by Michael Deresh’s faux accent but it fits strewn across the guitar notes which are sometimes dissonant in the distance. Yeah, we can all get that. But it’s the production that also catches the ear which is clear and concise, also will leave listeners eager to hear more. Much more.

Risley isn’t short on power or melody as “Common Thread” can attest. The band moves at a frenetic pace as guitars and its rhythm section seemingly move in unison as Deresh’s words slip around it. It’s what we’re here for but with “Candy Hearts,” we get a deeper insight into the group’s sound. This one, while still maintaining a semblance of who and what the band is, is reminiscent of what life could be like if Bernard Sumner was backed by William & Jim Reid. Yes, yes, yes, I know, comparisons are cheap but this seemed apropos. It’s a good song though as guitars take a different approach, with notes protruding out like bones over skin. It’s charming in its delicateness while it pushes and pulls from a couple of different directions.

There’s much more to the band than one might think, as “Keeping Score” moves in an unexpected direction although keeping that same energy with its turn-of-the-century sound. Guitars bounce here and Deresh is at his most inviting with his vocals here, the xylophone/marimba here is a nice touch, quietly making its presence known while falling in line with the rest of the instruments. The rhythm and melody are what we’re all here for and the song is fantastic in its construction with its haunting harmonies in the background. On “Walls” the band’s pop nature just seems to take over and Risley just explodes all over this one with lots of highs and portions quieter in its own respect.

Risley makes the most of things throughout Umbra Penumbra while being deliberate in how the band delivers its songs. There’s a style and grace the band has that isn’t easy to come by, and with a penchant for writing clever songs, it’s quite an entertaining ride.