First Listen Review: “PersonA”- Edward Sharpe and the
Magnetic Zeros
If you come into this album, looking for the lost voice of
vocalist Jade Castrionos, pretty quickly you call off your search and enjoying
this latest offering of indie-folk hippie fun.
Starting off with the seven minute “Hot Coals”, which serves
to show off the band in its full form. All of the other unnamed cast of
characters who were not called out by Edward Sharpe (Alex Ebert) in previous
releases, come together and fill out a sonic landscape, true to the form
perfected on the band’s first two releases. Unlike the tracks from the
self-titled album/last release, this song seems a little more determined to get
in you involved, if not singing along, from the opening chords. It is possible
that they wanted to cover all bases left empty by Jade and make up for anything
perceived to be lost. Or as they put it on the second song, be a little
“uncomfortable.”
“No Love Like Yours”, a piano-driven lead single shines just
as much in the context of being a midway point on the album. It is certainly a
sing-along song and should be held in the same regard as “Home” or “Dear
Believer”. It is the strongest on the album as far as I am concerned and will
most likely be the only track to garner some radio play (even if has to be on
your favorite college rock or independent station). It celebrates Love, with some clever rhymes and lyrics.
“Wake Up The Sun” is another long-song built on the talents
of the whole group and fit well within their canon and feels like an old
favorite right away. You will definitely circle back to it after your first
listen and might even throw it onto a dinner party playlist. “Free Stuff” was
another preview released before the album and has some of the guitar from “Dear Believer” with some thumps from The Lumineers “Ho Hey” (Indie-folk referencing
indie-folk is just good for everyone).
The album ends with the understated “Lullaby” and the kind
of goofy but purely fun “The Ballad of Yaya”. The former, once again centered
on the piano and could serve to gather the band all-around on stage to sing
along, the audience joining in as well. As it exists on the album, Alex offers
up some thoughts on the life, as always preaching just enough to reach all
those who matter.
The latter is hinged upon you not questioning who Yaya is
and wanting to hear her(?) story many more times. It has a light atmosphere
Donovan would be happy to sing and play along to. Also, wisely chosen horns
join in to create that finale feel. A solid choice as the album closer.
I think that the band can live in this space created by this
release for a little while. Go on tour, make late-night appearance, maybe a commercial
spot or two, but then they should record their follow-up, because as the band
stands now, it is not a march led by two leaders up at the front, but as the
slash through “Edward Sharpe” on the album sleeves expresses, Alex Ebert has
slid back into his band, and everyone and the music is stronger because of it.
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