Layered vocals on the first track piqued my interest right away with this new album from Ernest Aines. From there, I was interested in the pointed variety of the songs on the album. This review introduces Ernest Aines to the wider pop singer songwriter world. He has arrived with a tour de force.
“Pixels” is a song that includes fantastic layered vocals and some theatrical depth throughout the track. It’s got a melody that makes it easy connect while adding in production details that feel like they could have been from musical theater. The soaring vocals on the chorus, in particular, will stand out to listeners.
The second track “Yellowstone” includes acoustic guitars and an idiomatic banjo that appeals to our love of traditional instrumentation. If this was the lead track, I probably would have called Aines an Americana artist. The way the lyrics and Aines’ tone on this one captures a gritty, timeless mood is really impressive. The added twang on the electric guitars puts listeners in mind of mid-20th century fusions of rock and country elements for an inspiring sound.
“Rigged Games” has a mysterious, atmospheric style to it. The melody unfolds with experimental vibes. Aines has an expressive vocal style that leans back toward the pop style from the opener. Although it feels a bit darker, it’s still emotive and intriguing for the listener. It actually stands out on the album for this style, as many of the other tracks seem a bit more Americana influenced.
“So Far Ernest” utilizes a banjo and a substantive percussive element. It plods along in the best way possible. The effect on the vocal here is a lot more like a blues rock tune. The lyrics focus on the artist’s story of perseverance and keeping it moving. The sound feels like a connection between James Taylor-esque classic folk rock with more contemporary rock production elements. It works.
“Lady In Waiting” has a contemplative acoustic guitar element that absolutely sparkles in the opening. It’s got romantic overtones that make the song feel different than other tracks on the album. “Rain City” also has a colorful acoustic guitar in the opening with an unhurried folk style. Even though I appreciate many of the tracks on the album, this one might be my favorite simply because it’s so endearingly simple. It feels like listening to a small group of friends play and sing around a campfire.
The penultimate track is “I Won’t Take Your Honesty,” which is a classic narrative folk style. Aines tells a story that contrasts boys and girls, with a focus on emotions. Something about the melody reminds me of James Taylor on this one as well. The final track “Tail Tale” has a clever play on words. It’s another acoustic folk song that is sure to find fans among our readership. I appreciate the cerebral lyrical style and more complex chord progression. It’s a bright, expressive way to end the album.
If you can’t tell, I’m impressed by this. It’s an impressive debut from an artist that doesn’t seem to be highly restricted by genre conventions. I think Aines is at his best with the stripped down tracks like “Rain City,” especially. That said, some of the ripping pop songs definitely deserve to be widely shared. The sense of melody and percussive movement make the album standout from its folk singer songwriter peers currently. I genuinely hope this one takes off; Aines is well on his way to a successful career.
Reviewed with support from SubmitHub
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