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Days (VT) * Syd, Fault Lines. ...Syd has a lyrical, hook-rich style that has been praised by the likes of Rufus Wainwright and seems to augur great things ahead for the guy. Crafted with adroit, commercial structure and sound, these are songs one can easily imagine on a Clear Channel playlist. Syd's got a lot on his mind, and his lyrics are tightly packed but simple and conversational as he explores from many directions the fundamental human questions: Who the hell am I, and what's going on? Unlike much modern rock, Fault Lines is mixed so you can actually understand the lyrics. Syd is usually pondering relationships (who isn't?) of varying stability and promise. All I Know fatalistically mulls a union with a turbulent history that seems to be going OK -- for now: “It’s gonna be all right, but you can never know; you know how love goes.” He downshifts into a shuffling, bluesy mode on Keep Me From You -- which, as the title suggests, is about barriers. There's ironic self-mockery on Just Getting Started, all about trying to break into show biz: “You were gonna be a roadie for Nirvana / I was gonna be on MTV / We were gonna throw the ultimate party / If we ever got a high school degree.” The introspection rarely stops (Carry Me, This Is What I Get), though there are a few looks outward -- Dreams, written in the second person, suggests he's watching someone else's life unfold, but one can’t be sure. Syd wraps up quietly with Back Home, roaming through sweet chord changes and unexpected turns in waltz time. He's still none too certain of anything: “I'll be home someday,” he sings in one breath, “I might turn around” in the next. There's big talent at work here, and it's creating some big-time buzz. Stay tuned. www.sydband.com. Phoenix Revolution Favorite Tracks: The acoustic rock genre is a challenging one. It’s often hard for musicians to develop their own sound without borrowing too much from folk music, but Syd does it. And he does it extremely well. “Fault Lines” is the sum of some beautiful musical parts. The vocals are suited to the music and vice-versa. Its lyric and vocal work is ambitiously melodic, combining to form a polyphonic euphoria that doesn’t overdo anything. It’s complex without being confusing, and it’s the basis of an altogether fascinating musical experience. He really can sing, too, which somehow manages to make a good thing sound even better. The best quality of his vocal work, however, is that it too is extremely melodic. The words don’t just co-exist with the music. They have a life of their own. “Keep Me From You” is definitely a standout track. It has a bluesy, funky feel that’s both engaging and sweet. I don’t know what it is that could possibly make me want to dance like no one’s watching, but this song has it. The song is infectious. I dare anyone to listen to it and not want to move. Syd also shows his musical range with tracks like “Back Home,” which has to be one of the most hauntingly beautiful songs ever written. Its musical arrangement is deceptively simple, but it forces the listener to completely absorb the words. It’s so ethereal and so mystic that it often seems like it could easily pass as a lullaby. In a time when so many musicians are heading for overproduction and a wider range of instrumentation, songs like this remind us that less probably is more. “Rest of My Life” has a catchy groove that mixes well with the lyrics and their vocal presentation. This is the first song the album, and after about twenty seconds it was hard not to be completely addicted to it. I made notes while listening to this album for my own purposes. All I was able to write about this song was “Oh my.” I don’t think I can explain it any better than that. The album poses a unique dilemma -- it makes me want to learn the words and sign along. If I did that, though, I wouldn’t be able to hear the song itself and I can’t help but think that I’d miss out that way. I want to hear these songs live. They were obviously crafted with the utmost care, and they push the listener into some kind of aural utopia. If that’s what they can do through headphones, I can’t imagine how powerful they must be live. It was nearly midnight when I listened to “Fault Lines.” Before I put it in my discman I wanted to go to bed. By the third track I was ready and willing to fend off an army to get to hear the whole thing. Once it was over I went back for seconds. My only criticism of this album is its length. Its ten tracks are so
easy to listen to that they breezed by in no time. I could easily do
with three more tracks. Maybe four. Then again, I think this may have
been a rather wise move on Syd’s part; I know I’ll appreciate
my next helping when it comes. It can’t come soon enough.
Phoenix Revolution 5/5
I can’t stop dancing every time I listen to this album, even if it’s a silly little head bob. Syd is a little bit blues, a little bit funk, and a little bit alt rock, a combination that seems odd until you hear it, and then you realize just how wonderful it is. The album opens up with a cute little ditty called Dreams, which is a great introduction. It’s catchy and fun without being irritatingly pop and mainstream. The song hooks you in, and then the album surprises you with it’s versatility. It’s has it’s sweet soft sides with songs like Baby and Carry Me, a little bit of the old fashioned with Keep Me From You, as well as a little bit of the darker side with songs like The Bottom in pretty minor keys. So long story short, I love this album. It has absolutely everything. Great writing, great production, wonderful talent, versatility in their songs, and nothing is too long or two short. There is something for nearly everyone and every style. Syd is nothing short of talent and extremely well put together, this
is one of those albums I find myself coming back to with cravings for
certain songs, whatever my mood. This is why I feel they deserve a 5/5.
Indie-Music.com Quote: "There is a seamless quality to Fault Lines that can captivate the listener because of the excellent transitions between the tracks." By Benjamin Daniels Syd is a rare breed of singer/songwriter in today’s crowded marketplace of pop-inspired solo artists. First off, Syd has a sense of humor that many of his peers lack. Second, he has the innate ability to create an entire album of work that sounds varied from song to song without losing his signature sound. The first thing about Fault Lines that caught my ear was the production value. To hear music of this quality recorded by someone who is still in college is impressive. Syd lists a variety of influences, and he seems to have learned from them without wearing them on his sleeve. There is a seamless quality to Fault Lines that can captivate the listener because of the excellent transitions between the tracks. The album opens with “Rest of My Life," a track that is reminiscent of current pop hit maker John Mayer. It has a smooth but driving acoustic rhythm to it with a simple but effective vocal delivery. Syd shines at keeping the rest of the album from sounding like the first track. Too many singer/songwriters have an empty bag of tricks by the time you’re on the second song. “All I know” is a highlight track, which opens with some excellent guitar work spiced up with a subtle delay effect. It breaks into a bouncing folk style melody, vocally reminiscent of a male Lisa Loeb, while the chorus has a more rounded feel with an excellent hook that harkens back to early Hootie and The Blowfish. It’s an excellent example of the talented songwriting skill delivered on this CD. “Keep Me From You” is another catchy gem that reels in the listener with a great, jazzy bass line and some swinging guitar work. It invokes a fusion of folk and barroom blues. “The Bottom” invoked a much more rock ballad feel. Almost like an acoustic number by Staind, only less whiny and self-indulgent. Each song has its own voice without feeling forced or losing the personal voice of Syd’s music. Guitarist Tuck and bassist Dylan accompany Syd, and the instrumental ability
of each musician is highly apparent. It’s always nice to see raw technical
skill combined with a natural talent for great songwriting. Syd has been building
his fan base slowly and steadily over the Internet, and hopefully he and fellow
musicians will receive more success, which they certainly deserve. They should
have no problems with this, as it’s very hard to overlook such a talented
group of musicians. 1340 Magazine Syd-Fault Lines The first thing you will notice about Syd is that he has a voice that is like a warm cup of your favorite coffee or tea on a chilly night. As he spins his lyric tales with the backup of mostly acoustic sounding music you are drawn in, you want to like “Fault Lines” right away. Syd plays guitar a little like Roddy Frame of Aztec Camera which, if you don't know, is a full sound with a little bit of strumming influenced by Spanish culture, not Spanish sounding but you catch it once in awhile. “All I Know” was the first song on “Fault Lines” to catch my attention. It’s a little pop, but not embarrassingly so. What is cool is the openness of the song, the guitar is open and free and the lyric tale is filled with melody and openness, which also gives a very full on and complete sound. “Just Getting Started” has a nice change for Syd within it. The guitar has a little funk sound to it, maybe an easy light use of a waa waa pedal or something. It’s a nice fit and the first time in an obvious way you hear organ type keyboards in the background. It comes together smooth like all the songs on “Fault Lines” which seems to be the intention. My favorite song on “Fault Lines” is “Dreams”, maybe because it is the most different so it stands out. It has a little southern Louisiana sound to it. Thoughts of pick up trucks come into your minds eye although but it is not even a little country. “Dreams” is about how many of us live in our own heads and stepping out of them and just doing it. That may even be how the music sounds also. What I like about Syd and “Fault Lines” is the ability he has
to create and environment of interest and comfort at the same time. Familiar
but not boring. Like some who have come before him, Syd is challenged with
spinning his story so we can all hear it and get it, and that is an art in
itself. He does it well and I expect he will continue to do it often. I like
it and if you like singer/songwriter styles you will to. Key Song: “Dreams” Reviewed By Mask316 Music Connection Magazine Demo Critique 8.2.04 Syd
Syd, Fault Lines Vermont-born Syd's second record is a rocking reworking of his singer-songwriter
sound. Only 21 years old, the Boston-based artist has already piled up impressive
accolades-from the press and musicians such as Rufus Wainwright. His debut,
Week Days Weak Knees - recorded at the age of 19 - was a suprisingly solid
disc. Though recorded inexpensively in a Beantown dorm room, the record was
an impressive debut. This time around, Syd and longtime collaborator Tuck Stocking
have ditched quiet folk and turned the knobs up to, well, six or so. The record
packs a punch that makes the songs more immediately enticing than past efforts,
but the real treat is Syd's voice. His pipes have a smooth, soulful quality
rarely found in someone so young. Most of the 10 tracks on Fault Lines are
lilting, mid-tempo pop cuts. "Rest of My Life" kicks the disc off
with gentle acoustic riffing and smooth keyboards that sound not unlike The
Police. Quickly, though, the tune blossoms around a rousing chorus and meaty
hook. "Carry Me" starts with Syd's beautiful guitar work before incorporating
a catchy, call-and-response chorus. While the music on Fault Lines doesn't
drip with originality, fans of laid-back songwriters such as Jack Johnson will
find plenty to latch on to.
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