Northern Blood – The Space Between Two Oceans
Northern Blood – The Space Between Two Oceans – Album Review
The opening track, called “Mid Atlantic Ridge,” rips by pretty quickly at less than ninety seconds in total, establishing itself as more of an intro-style tune than anything else. Dig the waves, dig the ambiance of it all…it’s gentle, soothing…and it leaves the album open with the possibility to go anywhere it wants to afterwards. The acoustic guitar and Spoken Word additions were a nice touch too…it’s in a different language (French…I think?) and I’m useless in that department, but on sonic & sensory level, it all sounds welcoming & inviting. Good qualities if you ask me…not a bad way to get things going as the gateway in.
Where you find the advantage of such a short opening track comes into play, is actually in how quickly the next cut is able to start as a result. That’s when you get a real glimpse of what you’re in-store for and your real first impression of Northern Blood as you head into “Drive West Fast.” I suppose it hit me like…hmm…something along the lines of late 80s/early 90s Rock with like, lyricism that reflects a cross between Country music sensibilities and raw Tom Waits poetry. He was “Goin’ Out West” at some point too wasn’t he? Maybe he ran into Northern Blood at some point. Anyhow. Admittedly, what I’ve described probably seems about as enticing of a combination as peanut butter and sardines to a degree, and it even might sound like that, at least on that initial spin…it all takes a minute or two to really sink in. Eventually, I felt like this opening track by Northern Blood kind of has that same appeal to me like the music of Cracker does, in that similar, gritty, Alt-Country type of way. Everyone’s always trying to get to California I tell ya…y’all should come up here to Canada, we’re cool too, I promise ya – “hey wouldn’t it be nice?” What I personally really enjoyed in this first full song on The Space Between Two Oceans was the additional piano/keys you’ll find on “Drive West Fast” – the attention to detail is apparent right from this opening cut, and I like that it’s a song that sounds like it explores its dynamics and depth all around. That roar of the guitars as Northern Blood shifts into the chorus of this first track is really effective too.
So…hmmm. How does one go about explaining something like “A Deer A Car,” or indeed, the sound of Northern Blood overall? To a degree, if you weren’t there for the Alt-Indie bands of the mid-to-late 90s, you’re probably fucked here, and you’ve likely missed the opportunity to really develop a palette for something like this. We’re talkin’ about bands that were found thriving deep below the surface of the mainstream…stuff like Cold Water Flat, Sebadoh, or Dinosaur Jr., that are often regarded as more than a little off-putting to the masses, but still highly revered by those that were there, you feel me? While there’s no doubt you’re looking at stuff that is produced with a much more impressive dose of clarity, it’s still a sound that I’d make no illusions about – it’s gonna be a tough sell to the masses out there. As to whether or not that’s important to Northern Blood, that remains to be seen – I don’t judge…everyone has different reasons/goals for making music, I just report on what I hear as objectively as I can. After listening to “A Deer A Car” though, I felt like I actually started to attune to what Northern Blood’s sound was like, and that’s where I started to get into The Space Between Two Oceans a bit more than I felt like I might at first. In fact, I ended up feeling like this cut might very well be one of the album’s greatest tunes – and that something like what you’ll hear in Northern Blood ain’t all that far removed from stuff I really dig happening in FVRMN right now. Really dig the guitars as this track begins, and overall, I feel like there’s a ton of personality on display from the music to the microphone on a song like “A Deer A Car.” Whether or not it’ll connect with everyone out there…the jury is probably gonna be out there on that one until the album eventually gets its release, and perhaps even after – but it appeals to me. I think if anything, the singer for Northern Blood is left a little out in the open as this song begins and it takes a while for the music to surround him and support him as much as it likely should to…hmm…help cover up a bit of the rough patches that exist in the vocal tones of this track, but it’s still a great tune. Plus, it’s a freakin’ great concept – “I’m a deer, you’re a car” – I love that line and the metaphor that it is.
Like…look…I think that, if you can’t appreciate the commitment here, you’re kinda missing it. I listen to a track like “Hard Down Fast” and I can readily acknowledge that, again, the masses are out – but who the fuck cares? What I’m hearing is a dude that’s definitely got a VERY different voice than you typically find in a lead, sure – but LISTEN to the way he leans into it! He’s not shying away from his gruff & gritty sound…and I dunno…there’s something highly respectable about that if you ask me. I get that it might not be the first sound you’re reaching for in a day without having had a STRONG cup of coffee prior, but there’s still space for something like Northern Blood on my playlist. The guitars on tracks like “Hard Down Fast” alone would be enough for me to continually spin something like this, but the songwriting itself deserves real credit as well – there’s a genuine understanding of fluidity and dynamics in the way these songs are approached & the way they’re performed…and I can get behind that. There’s tangible uniqueness in the opening of “Hard Down Fast,” and you’ll find that’s a space that Northern Blood usually excels in throughout many of the songs on this album. They’ve got a great way of pulling you in close to listen, and “Hard Down Fast” is an excellent example of that aspect of the band & its music. A little more of a lean towards an Alt-Blues sound here I suppose…but not too much that it’s definitively one or the other – they’re working with real hybrid vibes on this cut, and again, most of the album really – but I think that’ll pay off for Northern Blood in the long run, because they still possess major identity.
“To Hear Your Voice (I Wouldn’t Have To See At All)” probably wins the award for the most factual title of the year, and simultaneously also describes a lot of how I feel about Northern Blood at the same time. Say what you want about how things sound in the end, there is a tremendous amount of identifiable sound at work here…to the point where it’d be seriously tough to confuse what you’re hearing on The Space Between Two Oceans for music by anyone other than Northern Blood. To achieve that level of identity on a debut record is nothing short of impressive whether you like it or not, so credit where credit is due. What was actually harder for me to assess in this particular instance was whether or not there was really a song here in the case of “To Hear Your Voice (I Wouldn’t Have To See At All).” And that’s a tough thing to say, because what I can hear, is that this is a song that obviously means a TON to those that created it. You know what I mean though? Obviously there’s still a song coming through your speakers here…but is it something we haven’t already heard before in some way, shape, or form? Not too sure what to tell ya in that regard other than it’s usually the songs musicians/creators end up being the most attached to that tend to take the hardest hits in the court of public opinion…it happens so much more often than you’d probably think. Don’t get me wrong, there are some ideas in here that I like – and the emotion that you find at the heart of this track is seriously impressive. Is it memorable? Is it a song that we’re going to seek out or look forward to in comparison to the rest of the lineup on that next spin through the album? That’s harder to say. “To Hear Your Voice (I Wouldn’t Have To See At All)” shares much of the same DNA as a ballad, even though you don’t often run into ballads with this much gruffness on the mic. So if you’re into ballads, slow jams etc., there’s no reason to think you wouldn’t at least have a shot at digging what you’ll hear on “To Hear Your Voice (I Wouldn’t Have To See It At All).” Is it gonna be for everyone? Probably not. Is ANY music out there really gonna appeal to everyone? No, not ever. They play it as well as the rest of the set, and ultimately, that’s all you can do. I have no doubt that there will be a few folks with the lighters up as they play this one live and dig what they hear. There’s sincerity in the writing & emotion in the performance, and that’ll connect for sure.
I do think there are lots of aspects/elements within the music that stand out for all the right reasons. Part of that is due to the sound selection/performance, and part of that is also owed to the stellar production you’ll find on this record as well, which essentially leans into the contrast of supreme clarity alongside vocals that sound like they could use a good ol’ throat-clearing most of the time. Tone-wise, everything is right on point from the music to the microphone…and it’s a neat combination of polished sound with rough & raw vocals to be truthful…there’s audible contrast for miles at work here. Would it have been more effective back in the era that a sound like this belongs to, like back in the mid-90s? Absolutely! But that’s not to say there aren’t a still whole bunch of folks like myself out there that grew up on that sound that wouldn’t give a track like “Wire Road” a genuine listen on our playlists. I don’t know if I’m entirely convinced that tracks like “To Hear Your Voice (I Wouldn’t Have To See At All)” and “Wire Road” aren’t about a minute or two longer than they likely should be, but it really kinda depends on what Northern Blood will go on to do with’em as well. Played live, both tunes could become really epic moments from the stage in the right context of a concert. Here on the record, they might be a bit on the lengthy side of things – and Northern Blood is set to continue that roll with “See You In Hell” right afterwards as well, ready to push things even further by heading into seven-minute terrain. “Wire Road” seems like it might be a tougher sell coming directly after “To Hear Your Voice (I Wouldn’t Have To See At All)” and I’d reckon the pinch point on this album is definitely found right there in the middle of this record with these two songs featured back to back…but I’m still listening & hopefully you will be too. I feel like the personality in this band and their humble vibes could carry them quite a long way in the court of public opinion when it comes right down to it…there’s something about what you’ll hear in Northern Blood that has you rooting for them instead of against them, regardless of what song it is.
Where you’ll find the main difference established in the songs that have major length to’em, is that something like “See You In Hell” is arguably more memorable than the two tracks that come before it. Do I still think it’s probably a great four minute tune and a more watered down seven minute song? I mean…yeah…kinda…but that’s so often the case with long songs – more space doesn’t always equate to a better experience, and sometimes less is more, as the old saying goes. If anything, I think that’s likely what I’d be taking a good long look at in Northern Blood going forward from here on with their music – there’s a way to tighten things up for sure. There’s a really smart way that the guitars move in “See You In Hell” that is sure to catch people’s attention…and I think that the whole main hook of “I’ll see you in hell” in the vocals is also a part that listeners are sure to remember. Overall, it feels like the substantial songwriting & meaning in the lyricism of this tune could be strong enough to pull people onboard. “See You In Hell” ain’t all that far removed from something you’d actually hear in Soul Asylum’s catalog…not the songs you likely know about, but the songs that surround the singles culled from their records. In any event…I suppose my advice is to just make sure they’re not going with length for length’s sake – you want each and every ticking second to serve a purpose & further the song with intention. “See You In Hell” feels like they’re more within that concept than many of the other tracks they’ve got that range over the five-minute mark. I ain’t suggesting you gotta end up in the radio-friendly realm of a safe three or four minutes, but I am definitely suggesting they really make sure that everything sounds like it exists for a reason. “See You In Hell” sounds like it’s one of the best examples of them using their time wisely.
I absolutely love the way that “Just What I Needed” starts out…that quick instrumental moment makes a major impact, and if anything, that’s the kind of spot you want to expand & keep going for a bar or two longer to really generate some interest before a single word is even uttered. On the bright side, you kinda get that later on in the song in between verses…you’ll get the fill you’re looking for, eventually. Where a track like “Just What I Needed” really shines is in the music itself – that’s where all the hooks are in a song like this, despite any/all efforts made otherwise. Ultimately, I feel like Northern Blood cues into this though…you’ll hear the music gets much more time in the spotlight than it has in many of the other tunes surrounding it. I think we could have a real hard argument about split-seconds of timing that come into play…but I’m not about to go hatin’ on something in that regard when the majority of what I’m hearing is pretty much all intact. There’s a nifty song here though at the core of it all – and let’s be real, you don’t always end up with tracks that are dictated by what’s happening on the microphone just because someone’s singing – sometimes the music really is the main attraction, and when it is, so be it. In fact, I think for a lot of folks tuning into The Space Between Two Oceans, the music is going to be a large part of its success with listeners when it comes right down to it, because the vocals are gonna be polarizing and there’s really no other way to look past that being the case. I’ll ALL for stuff that’s polarizing though – I think that is a GREAT thing when it comes to the art of making music, truly. Because you know what polarizing isn’t? It’s not indifference. Indifference is so much fucking worse.
And how about “Nothing Fucking Changes” eh? Talk about an absolute freakin’ RIOT to listen to! I think I was less than ninety seconds into listening to this tune for the very first time when I said to myself out loud – “this is gonna be the best song on the album” – and all said & done, I feel like I stand by that assessment. There are key differences being made here…and it’s stuff I’d probably consider for the future to follow if I was in Northern Blood. Vocally, to be honest, this is a much more accessible sound. What I love about it, is that it’s not really any kind of compromise…it’s not like you’re hearing anything being held back or trying to conform – this is genuinely a case of doing right by the song itself. When you have something that’s essentially asking you for something different than what you’ve been doing, there’s no shame whatsoever in going after that – which is why you hear the same fantastic level of commitment from the microphone, but a different result overall. “Nothing Fucking Changes” not only tells a completely kickass tale in its lyricism, but you get a more straight-ahead performance like you’d hear in something like…hmm…I suppose The Headstones…that kinda stuff. It’s not overboard into terrain you’d find in Rollins Band, though it does conjure up a similar level of toughness & attitude combined…but it’s still got enough of a hint of melody in the vocals even though it comes across like it’s delivered in a more Spoken Word like style…that’s why I’m going with The Headstones as a much accurate comparison. Anyhow…if you know, you know. What I can tell you that we’d all agree on, without question I believe, is that the music itself on “Nothing Fucking Changes” is 100% fucking WILD. Hooks-wise, there might not be a ton to latch onto in the tradition sense of the definition we know – but I can promise you that you WILL remember a song like this, because it’s a real fucking EXPERIENCE y’all!
As for “Pacific Tide” – it’s a good way to wrap things up…you’ll find no complaints from me. Northern Blood has wisely bookended the songs on this record, and in a very clever way when you consider its title – what you’ll hear really takes place in The Space Between Two Oceans…metaphorically and literally on a conceptual level. And I dig that – it’s effective and it’s conclusive. You know when you’ve reached the end of The Space Between Two Oceans, and I always think there’s something to be said for making an album with that kind of definitive finish. It’s a strong effort for a debut overall. I do think there are certainly a whole bunch of polarizing aspects to what you’ll hear, but as I’ve explained already, I think that’s a good thing – it’ll get the people talkin’ and discussin’ what they found on this album as opposed to so many out there that just end up getting ignored. There’s room to grow, expand, and evolve in what Northern Blood is doing, which is precisely what you should expect to find AND want in a debut record…but what you’ll discover here on The Space Between Two Oceans should also fill you with the confidence that this project will continue on from here with the true commitment and quality you hear.
The Space Between Two Oceans by Northern Blood gets its official release in the New Year on January 3rd – make sure you stay connected with the band at their official page at Soundcloud right here: https://soundcloud.com/northern-blood-371701096
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