Sounds like a gazillion others, you say? Well Satellite/Star Records must know how to pick'em because The Marches are unique.
Their debut album, 4 a.m is the new midnight came out in November '08 and damn it all if I'm not kicking myself for only having gotten to their myspace a couple of months ago.
Fast-forward to now and I've got a shiny new CD in a Dusty Ol' Discman. There's a reason why I'm focusing so much on this. The beauty of The Marches is that they will remind you of a lot of other bands and sounds, from all over time and space. But the whole is so much greater than the sum of its parts. The Sound of The Marches is unmistakably theirs and none other's.
That'll become obvious when you listen to 4 a.m. is the new midnight from beginning to end, and to that end I invite you all to join me in doing that.
The titular track starts us off, instantly giving The Marches' signature. A person with musical terminology knowledge would say they're Electro meets Motown with heavy doses of indie dance. I just like it. You've already heard the song on Gentle Wave (and if not, you totally should've).
Go! Now!
You're back? Good. Now we can talk about how the following track, Bad Touch, is anything but. Filled with goodness to the brim. The thing it does so well -as does it precursor- is capture the essence of the people it's talking to. Desperate vocals over a joyful melody, chaotic lyrics on an ordered beat. What waver doesn't recognise that feeling that takes over around 4 a.m?
For track 3, Rudolph Valentino has apparently turned into a robot (remind me to pass this on to our very own ME8H, btw). Here, I started noticing a The Marches thing: you don't always get to hear the lyrics clearly. They are woven into the musical fabric on the song in a way that allows you to enjoy it without having to "get it". But for those who're OCD over lyrics it dares you to figure them out and make the songs even more interesting.
Jumping all over the tonal map, you'd think The Marches suddenly felt like a bit of College rock with Wish You Were Here but then the f'd up lyrics register (I am a good egg, Roberto Benigni / Orange you glad I didn't say banana?) and the Electro/Wonder Boy tones take you over. Then you're like: "Ah, yes. For it is The Marches. How could I have been such a fool?"
Don't doubt the power of The Marches seem to be a theme. The case continues to be made with Need Me Back. Gorgeous underplayed vocals, fantastic garage beat & a teasing saxophone that yes, will possibly make you climax. Then, for Skinema and End of the Album Pt. 2 the album takes a sort of break. It offers an instrumental repose, then an outtake of the band as we get to know them better. "That was going great and then you ruined it with laughter" they say.
Not so. Because when Bobby Brown picks up, it's The Marches at their purely electorest -a good, good colour on them- ramping the energy up again. And you're gonna need to be on your toes to figure out Cold Hands Warm Heart...
It's something you might think you've heard on MTV Amour in the '90s. Now, whether you consider that a good or a bad thing is subjective. But with the addition of the awesome horns it becomes something new and wonderful. The Marches OWN their wind instruments (well, not literally, seeing as most of the equipment they used to record 4 a.m. is the new midnight was borrowed from friends).
Said instruments grace us with The Trouble With Heart Murmurs instrumental, sounding like the score to the most awesome silent movie you ever did see. And it's a preamble to the album's winning streak to the end: Sometimes Sex Isn't About the Money picks up the lyrics slack, discussing the sexomonetary issue in plain but by no means simple terms, over a lovely piano. So Ill earns it's slang credentials by being Just Cool, no other words needed.
When you think you've heard everything The Marches have to offer, Don't Love With Your Eyes kicks in with a Tainted Love reminiscent intro. If they wanted to they could totally tour with The Puppini Sisters or Nouvelle Vague, you muse. Then Victoria (which should be the official song for Victoria, Australia), reminds you that they could do the same with the Dresden Dolls or Ladytron... anyone, really, as long as they bring THE HORNS!
I did skip a track and I skipped it on purpose. The penultimate, number 14: Ghost of a Chance?
If you haven't already had sex to this, you should really get around to it.
The only complaint I have with this, The Marches 1st album, is one. It is a small one and a crucial one. The below cover is the only thing missing:
What does everybody else think? Is 4 a.m. the new midnight?
And to the waveradio webproducers, I propose a challenge: choose one of your favourite new releases and write a start to finish review of it. No fanciness - just your own words of love. Let's spread some good music waves out there!
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