Posts Tagged ‘lockets’

Lockets

Sweet Sounds

By Michael Aronovitz

lockets

I have always been a metal-rock guy, as I came to age in the 70’s and always made assessments based on guitar speed and drum tricks. It was a neighborhood hero sort of a deal, where the kid in his garage or basement could sound like the big boys if he got a flying V, plugged into a Marshall, and practiced his scales until he was slick as Skynyrd and his best friend’s kit made thunder like Bonham. From a listening standpoint, it wasn’t about the way the music made us “feel,” but more about making tile. You saw people go down in the forge and practice their asses off so they could play someone’s keg party and be a rocker for the night. It was a blast…a grass-roots spectacle based on manual labor and sweat.

But I also liked the sweet stuff, and I’m not just talking about Gary Wright and Leo Sayer. Queen started out seeming a bit girly and inconsequential, but wound up making the most diverse album in history with A Night at the Opera. Foreigner had pretty backing vocals, but rocked the living shit out of us with “Hot Blooded” and “Long Long Way From Home.” Boston would seem sugary by today’s standards, but no one can deny the crunch and sustain Tom Scholz manufactured with his axe, and even though Kiss helped start metal with Sabbath and the Coop, they did, after all, have a mega-hit with “Beth.”

A lot of popular music gets translated through street poets and rock gods, showboats and master technicians, but another crucial part of the equation is the soul of the listener. Some fans open their hearts by raising their fists and banging their heads, studying the scales and analyzing the breaks, but others want the music to simply consume them. To paint pictures. To make them feel.

I had the opportunity recently to get to know one of the founders of a synth-pop band from Philadelphia called Lockets. His name is Todd Mendelsohn, and he was a student of mine in a continuing education fiction class I teach at The University of the Arts. Todd is a big presence, outgoing, gregarious, and his fiction is bold, atmospheric fantasy horror. When he told me that he had a synth-pop band in which he played all the instruments and programmed the drums, partnering with a female singer (Dani Mari, who by 2015 was replaced by Melissa Ricca, yet to record) I was rather surprised. It didn’t seem to fit. Todd was the life of the party, the guy everyone wanted to sit next to at the bar, the one who told stories in a booming voice that held us spellbound, and the idea that he was the soft-spoken master-magician behind some kind of docile mood music seemed hysterical.

Still, I listened to the Camera Shy album and the Surrender EP, and was astounded, not only by the depth of the production and the breadth of the instrumentation, but also the way it affected me through emotional channels I wasn’t used to acknowledging. I tied to rebel. I tried to analyze the rhythm tracks, the guitar layering, the vocals, the breaks. And while the execution of all of the above would be appreciated on anybody’s stat sheet, the music finally didn’t filter in that way.

It painted pictures. Beautiful ones.

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When I listened to Camera Shy, I was initially reminded of The Cranberries, but that faded by the 3rd track titled “Violet.” The counterpoint of the building guitar and the immediate presence of the harmony vocal merged with the idea that I started seeing myself in my mind’s eye on a beach. There were waves and a sunset, warm breezes and memories. By the time I got to track #6, “Crush,” the beach had gone abstract to colors, and “Winter Light” made me smile.

“He changed the season,” I thought. “Clever.” I suppose a criticism of synth-pop in general might be the idea that the music has a linear construction as opposed to a climactic one, but what Lockets kept consistent in terms of instrumentation, they made sure to broaden with theme. The album has a “spreading” effect if you will, not only growing on you, but growing with you, supplying oils and brushes for your evolving inner mural.

The EP Surrender is brilliant. Concluded with two rather dark (and odd) remixes of the title track, the Lockets version is mesmerizing. It contains a phenomenal arrangement of keys and drums, and the harmonies are simply outstanding. The second track, Girl, is more upbeat, and demonstrates a subtle diversity, especially in the instrumentation and sound effects in the spaces.

Most of all, however, all of the music paints pictures. They don’t hang on walls, and they don’t prance around the stage.

The pictures are in your own head.

And they are aesthetic masterpieces.

 

Link for Vinyl version of Camera Shy / UK

https://beautifulstrange.bandcamp.com/album/camera-shy

Buy link for digital copies

https://itunes.apple.com/us/artist/lockets/id548765294

Michael Aronovitz is a horror author who has published three novels, two collections, more than thirty short stories, and a number of horror and metal reviews. His first novel “Alice Walks” will come out in E-book form through Cemetery Dance Publications this summer. His latest novel “Phantom Effect” can be seen on Amazon here: http://tinyurl.com/jcg59wo

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