Analog Life

Press

Indie-Music.com - This band has an uncanny ability to capture mood and atmosphere, something that is sorely lacking in many records that come across my desk. I’m not sure how they do it, either; the songs seem simple, until you start really listening. And when you start listening to Maxwell Horse’s new six-song EP, Fall On Your Sword, you won’t stop. This is a disc about “feeling” the music, rather than taking it literally. This is emphasized with the poetic nature of the lyrics, which are chameleon-like in scope, first seeming literal, then mystical. But what ties this disc together beautifully is a heart-wrenching, and quite stunning, interpretation of the human condition. It is fragmented, passionate, and much more complex than the surface of lilting melodies might initially suggest.

And this is exactly the undefinable “thing” that struck me about their last album, Baby Names from the Bible. Founding member Daryl Shawn’s vocals are strong here, again, inviting the listener to fall endlessly into the lyrics and providing a focal point for all the songs. Shawn, along with drummer el John and bassist and singer Arsushi Murase, has woven another intricate piece of poetry into musical form. The total sound, and clever words, seem reminiscent of bands like Buffalo Tom, The Connells, Freedy Johnston, and Glen Phillips. But Maxwell Horse doesn’t really sound like any other band, but seems to have adopted the type of songwriting skills that the aforementioned possess – biting and gritty at times, and swinging into emotional pools of passion the next.

The material is there, and this band has a lot to be proud of. Their commitment to grow as artists and develop their sound is evident with the release of this EP. They have the tools to be career musicians….let’s just hope we’re all listening.

Standout tracks include “Passover”, “Knickers”, and the title track.

Indiecator - I remember being quite fond of Maxwell Horse's 7" when I first got it (still am, just don't have a record player at college), so I was excited to see this EP in my review pile. Maxwell Horse are a somewhat sparse yet driving indie rock group. I wouldn't go so far as to call this emo, but emo liking people may like it. I quite like 'Fall on Your Sword', 'Object of the Anger', and 'Sun Devil'. Very good, more please.

Altar Native - This San Francisco band dishes out likable tunes on its six-song EP. With a steadfast bass line and a stream of garage guitars taking the indie rock route, the title track opens the release on an upnote, with soaring choruses that border on hard-edge Emo. The drum-propelled "Object of the Anger" maneuvers through various stages other than the title indicates, sometimes somber, sometimes floating on a beam. The Americana spice of "Sun Devil" shows a more uplifting side to the band. And if catchy tunes aren't enough, the lyrics throughout the songs boast a poetic finesse to them, as if pulled straight from a book. Fall on your Sword deals a surgical incision that's simple yet precise.

Indiecator - This nice orange piece of vinyl has cleansed my turntable of 3 Series, thankfully. There are two songs on here, "Sun Devil" and "Passover". The first song is a poppy emo-like indie rock song with an undeniably catchy bass line that I absolutely adore. This should go over extremely well on college radio, it seems to have everything a Modern Rock Smash should have other than millions of marketing dollars, plus great lyrics too, I have to mention that, and great cover art (an altered version of the tarot deck's hanged man), and did I mention the single is on orange vinyl? The B-side, "Passover", is another indie pop gem, with catchy music and intellegent wry lyrics. Have I mentioned I like it? I hope I have by now.

Copper Press - With but a crisp tickling cymbal and snapped snare from drummer Rafael Lago to back him, guitarist and singer Daryl Shawn calmly unfurls one addictive melody after another without fanfare, building one layer on top of another within a single phrase. Shawn plays intriguing, jumpy, nervous guitar lines, picking clusters of notes from clean, natural strums. His voice swirls chilling words like the wind prefaces the darkening skies of an approaching storm with achingly sharp and poignant lyrics sung smoothly and melodically over these brooding and quietly intense songs. Deceptively simple, this music is complex both lyrically and structurally, but is executed with a smooth, serene and literate touch that transfixes and leaves one with much to ponder.

Idgit - With their CD Baby Names From the Bible, Maxwell Horse presents another argument in the case for not pigeonholing bands. Although you can definitely hear their late '80s alternative rock influences (ala The Connells, R.E.M., etc.), I'm at a loss of words to quickly define their sound. The duo on record consists of Daryl Shawn (guitars and songs) and Rafael Lago (drums). Their recording here is tight and often plays around with Johnny Marr-esque guitar work and often introspective, if not creative lyrics. The songs tackle such subject matter as "what happens to change in heaven" and fodder that deals with death, love and prescription medication. Baby Names From the Bible is an album comprised of two parts - start and start over - a concept that I guess I just missed. But the band's intentions don't go unfelt. Everything is in its place here. The disc is a good listen and is presented and sequenced with the music lover in mind. The elaborate fold-out sleeve provides an interesting centerpiece. Bottom line: I'm glad I heard this; however, who else will? This record is highly recommended for people who own a Japanese car and like long drives to buy good quality incense, not that awful stuff at Food Lion. Maxwell Horse is a good band, and I hope they get a record out to the masses.

Indie-Music.com - Did you ever read something about a band, expecting everything that comes out of their mouths to actually resonate with your sense of what music is about and then get scared that when you actually listen to their music their alter-ego will appear in overprocessed, multi-layered form to completely blow your initial perception? It's my typical experience that most musicians should simply always let their music speak for them, but I get a kick out of reading bios by people who simply don't even understand their own music. Maxwell Horse, not to be confused with the overprocessed brand of coffee in your local convenience store, is a band that puts their music where their mouth is. After looking through their website, it seems that some changes have been made to the group - Daryl Shawn, clearly the opinionated heart of the Maxwell Horse sound, is the only remaining member. Drummer Rafael Lago has recently been replaced and there is a new bass player in the mix, Atsushi Murase. Another reviewer commented on the "poetic" nature of this release. This reviewer agrees. The lyrics are fascinating, and to explain the nature of them would, in effect, deflate their myriad of meanings. This is simply a wonderful writing project. While it seems a bit loose at times, thematically and musically because of its almost jamming approach, this doesn't detract from the very organic and wonderfully serious approach to music. This isn't a glossy record, yet it feels complete. Maxwell Horse is a group that obviously makes music for their own benefit, and while these particular tunes have a wider appeal and the talent to make a mainstream impact, you get the feeling that they are remaining true to their own vision. This is the type of band that will ultimately be successful and satisfied with a long performing career. Whether they make it "big" seems fairly irrelevant, but their drive to make good music provides the concentrated effort necessary to keep growing larger audiences and drawing them further into the experience. There is a lot of good playing going on here to compliment the songwriting, skippy little guitar lines all over the place that manage to sound appropriate and remain in the background to the lyrics themselves. It's difficult, however, to find bands to compare them to. While the sound is fairly familiar, it remains their own. But if you enjoy music by artists who exude a bit of poetry in their sound and style, such as Elliott Smith (not quite as retro-sounding), James, Toad the Wet Sprocket (same type of musical minor lifts) or even the Afghan Whigs (a slightly softer version, however, the pent-up aggression just isn't as great). Again, however, this isn't to say that Mhorse actually sounds like these artists, but the gift of prose is there. Maxwell Horse sounds very modern, and combines elements of poetry, intricate but not obnoxious guitar work, and a very sincere outlook on their music and their audience. The connection between band and listener is easily made, and it's doubtful that this disc will leave my player for quite some time. Some of the highlights include "Boston", the heady "Pennsylvania", "For I So Love the World", "The Dead Sea" and the closer "Surrender". This is an emotionally intense disc that should easily find its place among a lot of record collections in the future. And I'll wait for the next disc with great anticipation of a more direct approach and focused vision.

I wasn't expecting too much out of an album called Baby Names From the Bible, but the jaunts of San Francisco's Maxwell Horse have a hidden depth akin to falling into a ditch at the apex of a mid-summer stroll.

Showing an insight to their preference of vinyl and analog recording techniques (more on that at their website) with the separation of disc into "Start" and "Start Over," this two piece (guitar and drums - a bass player was just added to form a tripod) manages to cram a few levels of compelling songwriting into a sparse variety (I use that word lightly) of backgrounds. "Start" begins with a few jangly numbers (jangly in music only), and then slowly eases into the more introspective and dark material to come. "Start Over" begins on the bent-note squeals of "For I so Love the World," the album's most driving piece, and downshifts into a mix of this sparse rock and slow-core.

Maxwell Horse could use some additional instrumentation or varied production to entice listeners to their strong songwriting, but once you're in on it, all calls for augmentation may seem superfluous.

181.4 Degrees From the Norm - "First thing to note about these guys is their positive attitude to music, which really can't be flawed. You get the sense that if someone saw the future and unequivocally told them that they will never attain mainstream success, they would heedlessly continue in their contributions to this art form. Having said that, on the strength of "Baby Names From the Bible", there's no reason why the sounds of Maxwell Horse shouldn't be ringing throughout households all over."

MusicDish - What an odd title. Anyway, we've got over 50 minutes of indie alternative rocky pop here. What strikes me most about the cd is the poetry. These lines from "House" begin "have you lived there carefully / enough to know the escape hatch / or which switch is which have you / found the book of quotations / my words underlined in red." Some sounds good, but some I don't quite get. "freezerburn takes the harvest long / before old age kills the roses and i'm / sure that the rabbits have all grown / fat on the aloe vera."

I happen to live in "Pennsylvania" so the description of "Pennsylvania is a green state / black as coal and cold as ashes / if you survive the winter you will be / plowed under if you spring from your / seed you will be cut down in Autumn." I certainly agree about surviving the winter. I also think the plucky guitar work skidding all over the place is a pleasant experience.

It's a smart little CD 'case' too. A pocket with a fold-out flap containing all the words on both sides. Makes life easier, takes up less room.

Again, I don't quite understand the title of "MHEL" or the chorus of "I knew you would all come back / to sing my praises / to take all my worries away / and wish me happy days / I knew you would all come back / but now you're killing me / because nothing's as pretty as it / ought to be / and today's my lucky day." But that's the greatness of poetry; could mean many things, and all becomes clear when you spend time on it. Real spunky tune surrounds it with lots of short-strum guitar and wildish drums.

Altar Native - A transplant of Pennsylvania, vocalist/guitarist/songwriter Daryl Shawn spent his years studying jazz performance and composition, then later progressed to playing in experimental rock bands. Now along with drummer Rafael Lago and living in San Francisco, Maxwell Horse has established itself in a powerful manner with their debut Baby Names from the Bible, an upbeat collection of jazz-tinged hooks and dynamic guitars that are pushed another level with some intricate drum maneuvering. While their sound bears a sense of liveliness and glee on the surface, a darker, more personal message embraces Shawn's lyrics, such as songs like "Boston" ("Nothing kills the appetite like a mouthful of wine that won't stay down/I've lost my taste for sweetness/and I won't recognize your kisses.") Tracks like the vibrant "When Pennies go to Heaven" contrast slower, more introspective moments like "House" and "Mississippi." Listen to this one while looking out the window on a rainy day. It will make it a much more pleasant experience.

	Indie-Music.com - This band has an uncanny ability to capture mood and atmosphere, something that is sorely lacking in many records that come across my desk. I’m not sure how they do it, either; the songs seem simple, until you start really listening. And when you start listening to Maxwell Horse’s new six-song EP, Fall On Your Sword, you won’t stop. This is a disc about “feeling” the music, rather than taking it literally. This is emphasized with the poetic nature of the lyrics, which are chameleon-like in scope, first seeming literal, then mystical. But what ties this disc together beautifully is a heart-wrenching, and quite stunning, interpretation of the human condition. It is fragmented, passionate, and much more complex than the surface of lilting melodies might initially suggest. And this is exactly the undefinable “thing” that struck me about their last album, Baby Names from the Bible. Founding member Daryl Shawn’s vocals are strong here, again, inviting the listener to fall endlessly into the lyrics and providing a focal point for all the songs. Shawn, along with drummer el John and bassist and singer Arsushi Murase, has woven another intricate piece of poetry into musical form. The total sound, and clever words, seem reminiscent of bands like Buffalo Tom, The Connells, Freedy Johnston, and Glen Phillips. But Maxwell Horse doesn’t really sound like any other band, but seems to have adopted the type of songwriting skills that the aforementioned possess – biting and gritty at times, and swinging into emotional pools of passion the next. The material is there, and this band has a lot to be proud of. Their commitment to grow as artists and develop their sound is evident with the release of this EP. They have the tools to be career musicians….let’s just hope we’re all listening. Standout tracks include “Passover”, “Knickers”, and the title track.
	Indiecator - I remember being quite fond of Maxwell Horse's 7" when I first got it (still am, just don't have a record player at college), so I was excited to see this EP in my review pile. Maxwell Horse are a somewhat sparse yet driving indie rock group. I wouldn't go so far as to call this emo, but emo liking people may like it. I quite like 'Fall on Your Sword', 'Object of the Anger', and 'Sun Devil'. Very good, more please.
	Altar Native - This San Francisco band dishes out likable tunes on its six-song EP. With a steadfast bass line and a stream of garage guitars taking the indie rock route, the title track opens the release on an upnote, with soaring choruses that border on hard-edge Emo. The drum-propelled "Object of the Anger" maneuvers through various stages other than the title indicates, sometimes somber, sometimes floating on a beam. The Americana spice of "Sun Devil" shows a more uplifting side to the band. And if catchy tunes aren't enough, the lyrics throughout the songs boast a poetic finesse to them, as if pulled straight from a book. Fall on your Sword deals a surgical incision that's simple yet precise.
	Indiecator - This nice orange piece of vinyl has cleansed my turntable of 3 Series, thankfully. There are two songs on here, "Sun Devil" and "Passover". The first song is a poppy emo-like indie rock song with an undeniably catchy bass line that I absolutely adore. This should go over extremely well on college radio, it seems to have everything a Modern Rock Smash should have other than millions of marketing dollars, plus great lyrics too, I have to mention that, and great cover art (an altered version of the tarot deck's hanged man), and did I mention the single is on orange vinyl? The B-side, "Passover", is another indie pop gem, with catchy music and intellegent wry lyrics. Have I mentioned I like it? I hope I have by now.
	Copper Press - With but a crisp tickling cymbal and snapped snare from drummer Rafael Lago to back him, guitarist and singer Daryl Shawn calmly unfurls one addictive melody after another without fanfare, building one layer on top of another within a single phrase. Shawn plays intriguing, jumpy, nervous guitar lines, picking clusters of notes from clean, natural strums. His voice swirls chilling words like the wind prefaces the darkening skies of an approaching storm with achingly sharp and poignant lyrics sung smoothly and melodically over these brooding and quietly intense songs. Deceptively simple, this music is complex both lyrically and structurally, but is executed with a smooth, serene and literate touch that transfixes and leaves one with much to ponder.
	Idgit - With their CD Baby Names From the Bible, Maxwell Horse presents another argument in the case for not pigeonholing bands. Although you can definitely hear their late '80s alternative rock influences (ala The Connells, R.E.M., etc.), I'm at a loss of words to quickly define their sound. The duo on record consists of Daryl Shawn (guitars and songs) and Rafael Lago (drums). Their recording here is tight and often plays around with Johnny Marr-esque guitar work and often introspective, if not creative lyrics. The songs tackle such subject matter as "what happens to change in heaven" and fodder that deals with death, love and prescription medication. Baby Names From the Bible is an album comprised of two parts - start and start over - a concept that I guess I just missed. But the band's intentions don't go unfelt. Everything is in its place here. The disc is a good listen and is presented and sequenced with the music lover in mind. The elaborate fold-out sleeve provides an interesting centerpiece. Bottom line: I'm glad I heard this; however, who else will? This record is highly recommended for people who own a Japanese car and like long drives to buy good quality incense, not that awful stuff at Food Lion. Maxwell Horse is a good band, and I hope they get a record out to the masses.
	Indie-Music.com - Did you ever read something about a band, expecting everything that comes out of their mouths to actually resonate with your sense of what music is about and then get scared that when you actually listen to their music their alter-ego will appear in overprocessed, multi-layered form to completely blow your initial perception? It's my typical experience that most musicians should simply always let their music speak for them, but I get a kick out of reading bios by people who simply don't even understand their own music. Maxwell Horse, not to be confused with the overprocessed brand of coffee in your local convenience store, is a band that puts their music where their mouth is. After looking through their website, it seems that some changes have been made to the group - Daryl Shawn, clearly the opinionated heart of the Maxwell Horse sound, is the only remaining member. Drummer Rafael Lago has recently been replaced and there is a new bass player in the mix, Atsushi Murase. Another reviewer commented on the "poetic" nature of this release. This reviewer agrees. The lyrics are fascinating, and to explain the nature of them would, in effect, deflate their myriad of meanings. This is simply a wonderful writing project. While it seems a bit loose at times, thematically and musically because of its almost jamming approach, this doesn't detract from the very organic and wonderfully serious approach to music. This isn't a glossy record, yet it feels complete. Maxwell Horse is a group that obviously makes music for their own benefit, and while these particular tunes have a wider appeal and the talent to make a mainstream impact, you get the feeling that they are remaining true to their own vision. This is the type of band that will ultimately be successful and satisfied with a long performing career. Whether they make it "big" seems fairly irrelevant, but their drive to make good music provides the concentrated effort necessary to keep growing larger audiences and drawing them further into the experience. There is a lot of good playing going on here to compliment the songwriting, skippy little guitar lines all over the place that manage to sound appropriate and remain in the background to the lyrics themselves. It's difficult, however, to find bands to compare them to. While the sound is fairly familiar, it remains their own. But if you enjoy music by artists who exude a bit of poetry in their sound and style, such as Elliott Smith (not quite as retro-sounding), James, Toad the Wet Sprocket (same type of musical minor lifts) or even the Afghan Whigs (a slightly softer version, however, the pent-up aggression just isn't as great). Again, however, this isn't to say that Mhorse actually sounds like these artists, but the gift of prose is there. Maxwell Horse sounds very modern, and combines elements of poetry, intricate but not obnoxious guitar work, and a very sincere outlook on their music and their audience. The connection between band and listener is easily made, and it's doubtful that this disc will leave my player for quite some time. Some of the highlights include "Boston", the heady "Pennsylvania", "For I So Love the World", "The Dead Sea" and the closer "Surrender". This is an emotionally intense disc that should easily find its place among a lot of record collections in the future. And I'll wait for the next disc with great anticipation of a more direct approach and focused vision.
	I wasn't expecting too much out of an album called Baby Names From the Bible, but the jaunts of San Francisco's Maxwell Horse have a hidden depth akin to falling into a ditch at the apex of a mid-summer stroll. Showing an insight to their preference of vinyl and analog recording techniques (more on that at their website) with the separation of disc into "Start" and "Start Over," this two piece (guitar and drums - a bass player was just added to form a tripod) manages to cram a few levels of compelling songwriting into a sparse variety (I use that word lightly) of backgrounds. "Start" begins with a few jangly numbers (jangly in music only), and then slowly eases into the more introspective and dark material to come. "Start Over" begins on the bent-note squeals of "For I so Love the World," the album's most driving piece, and downshifts into a mix of this sparse rock and slow-core. Maxwell Horse could use some additional instrumentation or varied production to entice listeners to their strong songwriting, but once you're in on it, all calls for augmentation may seem superfluous.
	181.4 Degrees From the Norm - "First thing to note about these guys is their positive attitude to music, which really can't be flawed. You get the sense that if someone saw the future and unequivocally told them that they will never attain mainstream success, they would heedlessly continue in their contributions to this art form. Having said that, on the strength of "Baby Names From the Bible", there's no reason why the sounds of Maxwell Horse shouldn't be ringing throughout households all over."
	MusicDish - What an odd title. Anyway, we've got over 50 minutes of indie alternative rocky pop here. What strikes me most about the cd is the poetry. These lines from "House" begin "have you lived there carefully / enough to know the escape hatch / or which switch is which have you / found the book of quotations / my words underlined in red." Some sounds good, but some I don't quite get. "freezerburn takes the harvest long / before old age kills the roses and i'm / sure that the rabbits have all grown / fat on the aloe vera." I happen to live in "Pennsylvania" so the description of "Pennsylvania is a green state / black as coal and cold as ashes / if you survive the winter you will be / plowed under if you spring from your / seed you will be cut down in Autumn." I certainly agree about surviving the winter. I also think the plucky guitar work skidding all over the place is a pleasant experience. It's a smart little CD 'case' too. A pocket with a fold-out flap containing all the words on both sides. Makes life easier, takes up less room. Again, I don't quite understand the title of "MHEL" or the chorus of "I knew you would all come back / to sing my praises / to take all my worries away / and wish me happy days / I knew you would all come back / but now you're killing me / because nothing's as pretty as it / ought to be / and today's my lucky day." But that's the greatness of poetry; could mean many things, and all becomes clear when you spend time on it. Real spunky tune surrounds it with lots of short-strum guitar and wildish drums.
	Altar Native - A transplant of Pennsylvania, vocalist/guitarist/songwriter Daryl Shawn spent his years studying jazz performance and composition, then later progressed to playing in experimental rock bands. Now along with drummer Rafael Lago and living in San Francisco, Maxwell Horse has established itself in a powerful manner with their debut Baby Names from the Bible, an upbeat collection of jazz-tinged hooks and dynamic guitars that are pushed another level with some intricate drum maneuvering. While their sound bears a sense of liveliness and glee on the surface, a darker, more personal message embraces Shawn's lyrics, such as songs like "Boston" ("Nothing kills the appetite like a mouthful of wine that won't stay down/I've lost my taste for sweetness/and I won't recognize your kisses.") Tracks like the vibrant "When Pennies go to Heaven" contrast slower, more introspective moments like "House" and "Mississippi." Listen to this one while looking out the window on a rainy day. It will make it a much more pleasant experience.