sofie's blog.

Angsty. Really. Freaking. Angsty. That’s how I’ve been all damn day. Well.  this week in general.. Continue reading »

Finally, this week is over. I have not written a “what is going on with Sofie” blog in a while… so this is it. I guess this will be sort of a “re-intro” snapshot of things.

This is me.
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VIDEOS!!
Instrumental ending, “Broken Line” — featuring Michael Ronstadt on cello and Michael Beaky on banjo

Fiddle set (missing the first few seconds) — Brian, Trevor and Bruce

Instrumental ending, “Of A Murder” — featuring Craig Downie and Joe Stahl on trumpet and Michael Ronstadt on cello

“Whistleblower” — featuring Craig Downie on the falling whistle/xylophone, Trevor Lewington on mandolin and Mark Abraham’s KILLER bass playing!

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I couldn’t think of an actual title for this blog, so that’ll have to do.

Last night, Enter the Haggis pretty much made the Steel’s blast furnace tremble. It was the first time in years that I felt the Steel be ALIVE. For this show, they played their entire new album for the first set and the top ten fan-voted songs for the second set. It was a night of debuts for a few of the songs, and some new takes on other songs.

This show was pretty special to me, besides ETH being such an incredible group of gents…

I grew up in Bethlehem… on the other side of the Lehigh River, with the Steel looming over child-me… Like I’ve said many times on this blog, the Steel is very special to me (in a strange way, I suppose). It’s not only a bunch of old, rusty buildings to many Bethlehemites old enough to remember. Nearly everyone who has resided in Bethlehem before the mid-90s had *SOME* connection to the Steel, be it a family member, relative, neighbor, whatever. For many decades, it was the only reason Bethlehem had for existing. It is the single most important part of Bethlehem’s recent history. The center of economic stability, and now a new center for the arts — to keep Bethlehem’s music tradition alive. Sentimental, nostalgic stuff under cut.

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In my efforts to keep my blog all super-current, this blog post are my first impressions of Enter the Haggis’ newest work, recently pre-released to those of us Haggis Heads, Hens and soon-to-be the former who helped in the album’s fundraising. I’ve finally had a chance to listen to the entire album a few times, but I’m sure I’ll keep catching more layers on each listen.

Overall, this album is a pretty cool contrast to Gutter Anthems and Soapbox Heroes. I can’t decide yet if it’s an evolution from their last couple of albums… or just adding another new layer to their mix of “haggis”. Vocally, it’s their best — just clean and tight harmonically (the latter is definitely a signature for them). Instrumentally, I can’t place it yet — instrumentation is huge, as they all double a ridiculous amount of instruments. Generally, it much more complex and laid back. Nothing really in-your-face rock or punk… Still a huge diversity in musical styles — folk, lighter rock, zydeco, jazz, pop (and all the influences of those genres) — yet still very cohesive, the songs *fit* together. I really can’t name another band that genre-hops so well, as if each influence — no matter how opposite in form and style — is *meant* to fit. Hopefully this album won’t isolate the Heads that shift toward the Celtic rock.

I think I’m going to comment on the bands some of these songs reminded me of too… to show just how much genre-hopping is really going on.

Headlights I & II

The opening song(s) begins with a very eerie instrumentation, partially due to the cello layering on top. This is probably my favorite of the songs I didn’t get to hear until now. (A few tracks were pre-released before the rest of the pre-release) I can’t place the first half at all. It’s a bit of rock… reminds me a bit of a few songs in Jekyll & Hyde. Kind of that light rock in all the scenes with Lucy, with the bass drum being prominent. A bit of The Who’s Tommy as well. (I apologize for my musical lust) And the chord progression is pretty cool. Trevor’s voice is incredible. The harmony at “slow down”, before the second part of the song(s), is very thick. I didn’t even catch the moving line the first time (I think Brian is the one singing it), and it’s a pretty cool layer.

Then it just… shifts. And starts moving along… The second half feels like Mumford & Sons, with a rockier edge. The banjo is a pretty cool layer. This part just *moves*. The piano has a pretty cool line that I didn’t hear until my most recent listen — it’s subtle, but moves along (following Brian’s vocal line at times). Michael Olson’s cello line is a nice addition, and compliments Mark’s bass very well. There’s just so much going on in this half, that I’m gonna have to listen much more closely at some point to catch even half of it. I haven’t even gotten to the lyrics yet!  The two parts just fit lyrically… And the “slow down” seems to be the “glue”. The ending “slow down” feels like it’s slowing down the tempo, but it’s really not. It’s a cool effect.

I just adore this song. It’s so different from the entire “catalogue” of ETH songs. And it was a nice surprise following the new stuff they’ve performed on tour. It really hit me in a good way.

The Basket or the Blade

One of the songs that I’ve heard evolve live. Here’s your rock, for you rockers. A bit reminiscent of Carbon Leaf’s line of rock. I love the piano in this one. And Craig does some pretty cool things with the pipes that I didn’t catch until now. Trevor’s harmony is a huge strong point.  The ending is just really there… Brian’s voice sounds very mature. The backing harmony underneath him is a nice effect. And Bruce adds a pretty cool touch. The lyrics won’t leave me. Definitely an earworm.

Devil’s Son

Another of the songs I’ve heard evolve so far. This one is very folky. Awesome fiddle. TIGHT harmony. And that xylophone/bell instrument is a pretty cool touch. And is that a banjo I hear? (Don’t have the liner notes yet) The moving percussion is a cool effect. (Is Bruce playing a rake? hehe) This one also has a lot going on, despite sounding pretty simple and straight-forward at first, and I’ll need to listen more closely to catch more of it. Trevor’s vocal flexibility really shows in this one.

Whistleblower

My favorite song on this album. I can ramble for a while about how much I love it… But I’ll keep it simple.

5/4, but the percussion doesn’t feel like it at points. It feels really natural, as if it were really common to just play something in 5/4. Brian’s got some strong flexibility vocally, and he definitely shows off more of his range. The guitar motive that goes on throughout it is entirely too catchy! The whistle is an awesome touch. Also, is that an accordion I hear? Or is it on keyboard? It sounds pretty cinematic… like it belongs in a movie about what it’s about — child soldiers in the Congo. Check out the Falling Whistles Campaign for more information about how you can become a Whistleblower for Peace. The lyrics stick with me, and it’s a bit of a hopeful song.

There’s so much going on in this one too, that it needs a few more listens to catch it. It’s been on repeat in iTunes for the past few weeks, and I still can’t grasp it yet.

The Flood

A song written for flood relief earlier this year, that I haven’t been able to stop listening to. I love what’s been done with it. I remember imagining a cello or viola in it… The cello is right on, especially in the intro. Is there a banjo again? Or am I just mistaking one of the guitars for a banjo? The harmony is a perfect touch. I love how this one grows and builds until the new ending. The piano is a nice touch, along with the allusion to Trevor’s flood song, “Watch the Water Rise”. And again with Brian showing off his vocal range! From near-bottom to probably break  without going into falsetto. He doesn’t sound like he’s in his comfort zone range for much of this one, but he does a pretty good job of convincing his listeners that he is. I love this song in so many ways.

Getaway Car

This song reminds me of post-Steven Page Barenaked Ladies/All In Good Time, but with more heavy harmony than BNL (I’ve decided that Steven Page *was* the vocal glue to Ed Robertson, btw). I don’t know why yet… but it does. I think it’s the intro. It reminds me of Graffiti Love and You Run Away in many ways.. I highly doubt this was an influence… Maybe more Coldplay? Carbon Leaf? The Elders? Who knows.

This sounds like NOTHING else they’ve done. It’s hard to place, and a nice surprise. I LOVE IT. Trevor shows off his vocal flexibility big time in this one. At first listen, it’s a straight-up pop rock song, without any Celtic influence… but a few more listens and it’s got some really interesting things going on in it. I had to listen to Casualties to kind of figure this song out…. The contrast is just WOAH. Very “grown up” sound… It blows my mind how far these guys have grown musically from the first time I saw them play as a high school student. I’ve grown up listening to them, and this song blows me away. Trevor! Where did that voice come from???

Pseumoustophy

“Some mouths to feed”. I spend my entire day at work on Monday trying to figure out the title, thinking it was Greek. all. freaking. day. It’s a HUGE contrast to all the songs before it, but fits. Craig is my hero. Because he is such an all-around MUSICIAN. His flexibility is mind-blowing. I know maybe one other person that can play bagpipes and trumpet… and I don’t know ANYONE else that doubles bagpipes, trumpet, sax, harmonica, flutes and whatever else he gets his hands on… oh, and sing pretty damn well too.

I can’t place this song at all. Political lyrics… Jazz, maybe a tad of zydeco, folks, blues and a bit of rock. This song has so many different genres in it, and just as many instruments. The fiddle is such a cool part of it, the section with the fiddle(s) and guitar is just IN-YOUR-FACE. And it just MOVES. I love Craig’s voice in it. And the choruses are pretty cool. Again with Brian’s vocal flexibility. Ughhh just WOW, it hurts my brain. It also seems like the choruses are the voices in Craig’s head.

This song embodies the talent in all five gents. Because it’s the biggest surprise of this album to me. Not so much your Celtic punk band anymore, eh?

Follow

Such an awesome guitar line. It’s been cool hearing this one evolve too. There’s a lot going on in that intro. And the fact that it follows Pseumoustophy boggles my mind… but it works. It’s peppy and rocks. I can’t get the chorus out of my head. After the Delaware WCL performance, I couldn’t stop singing this song. I love the harmony, and the whistle. Sounds like it belongs in the 70s. Jethro Tull, maybe. Excellent song.

Of a Murder

Another interesting contrast. The piano, steady, bluesy and haunting. Trevor… HAUNTING. Trumpet(s) (muted and not) and cello… wow. Harmonies… HAUNTING. Background vocals (mostly Brian, maybe Mark, I couldn’t really hear)… HAUNTING. There’s a lot going on in this one too. It reminded me of Silverchair… Very cinematic again… I love the xylophone, piano and cymbal at 2:15ish. Sounds a bit like a circus calliope. Such a full sound.

The ending instrumental is one of ETHs best. I can’t hear if it’s a flute, or just overtones making a whistle on top. There’s sooo much layering of instruments and such a huge build… and then it just releases to nothing. The effect leaves me with an odd feeling.

The Hunter and the Phantom Limb

Another interesting song. Reminds a bit of Ghosts of Calico and Johnny Mooring from Gutter. Another interesting surprise of a song. Pretty cool guitar. Being after Of a Murder is a pretty interesting thing too. I love the contrast between the two. The tempo is comfortable, and Bruce drives it so well. Again, TIGHT harmony. The dobro, compliments of Larkin Poe’s Megan Lovell is an awesome touch.

Let Me Go

Sounds a bit like South African music. Gospel? Zydeco, a tad? Cajun. A pretty southern American sound… (keep in mind that they are based out of Ontario, Canada) Reminds me of the “jam” section one of my bands does for “When the Saints”… Craig hurts my brain with his talent. Such awesome trumpet. The percussion is soooo freaking cool. And the brass! And the keyboards… Everything about this song is a nice contrast to everything else ETH has done. The tag is the jam-out good time I’ve grown to love about ETH. Some cool stuff going on, also unexpected when I heard this at WCL, even after seeing Fia’s video.

White Squall

A cover of Stan Roger’s song. And absolutely mind-blowing live. The ending is a nice one for the album. Hopefully Scythian will join them again in Philly for this song. Absolutely tight harmony. And Trevor sounds so… grown up… vocally on this. I love the whistle, and how this has evolved over the past few months.

Overall… this album shouldn’t make any coherent sense. At all. The songs should not fit together they way they do. It’s baffling. There are so many influences in it, grounded by tight harmony and incredible instrumental sections. The shameless genre-hopping, just because they can, feels so effortless. Like it’s meant to be — a new genre characterized by a lack of limitation. ETH slips between a very full symphonic sound one minute, to jazz the next, then off to in-your-face ROCK land… to a very delicate song like “The Flood” the next… then to their Celtic punk/rock roots somewhere in the middle to further make your brain ask “how is this possible??” Every band member doubles a few instruments, partially leading to that diversity that makes them so unique. But huge selection of instrumentation  does not account completely for what they’re doing… It’s something else. I don’t want to know what that may be. The seeming lack of Celtic influence doesn’t throw me off, as I’ve heard some others comment on… because it’s still there in some of the instrumental motives, if you listen for it. I like the mental challenge this album is giving me, because I’m a nerd like that… I like listening for different lines… trying to figure out how they all fit together in each song, and over all.

I honestly cannot name another band that can be so undefined in genre, yet sound so cohesive. They constantly put together music that just *shouldn’t* work… and pull it off flawlessly. Every single detail placed into it. This album leaves my ears happy and with a feeling of “wait… what?” at the same time.

Check it out when it’s released officially. You won’t be disappointed. Confused, probably. But your ears are in for such a treat.

They’ve redefined “haggis” with Whitelake…. again.

Maybe that’s the genre they’re inventing and continuing to reinvent.

Getting back to this finally. Expect a cleaner layout soon.
Then… cleaning out old tags, entries and everything… forwardiscalling will mostly serve as my online portfolio and resume… as well as a more “clean” blog.

<3,
Sofie