The Lunatic, "Maria and the Ivory Face" 02/23/2010
By Brendan Harte Gilsenan
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I can only imagine the feeling a soldier has upon coming home from war is similar to that of getting back together with a girlfriend you are truly head-over-heels in love with: everything in the world is right once again. Reconnecting with those things in life that once were thought to be out of hand’s reach is exciting, comforting, and oxygenating.
Jack Mergist and Martin Michalek met through their mutual adoration of early Weezer (The Blue Album and Pinkerton to be specific). Eventually they discovered a common interest in all that is quality early to mid 90’s alternative rock. Likening to the greats of this era and the classic pop of the Beach Boys, the Lunatic channel their suburban teenage experiences into a ten-track revival of the melodramatic garage rock of when there was angst, yet no emo.
At first listen, influences on the band are apparent. The Lunatic has the crunch of the Pixies, the vocal harmonies of the Beach Boys, and the tender, whispering vocals of Elliott Smith. But Maria and the Ivory Face is like Shrek’s analogy of an ogre. It’s an onion with layers to peel back. Each listen reveals more of the cohesive identity that the Lunatic has painted itself to be throughout the odyssey that is Maria and the Ivory Face.
Many tracks are little journeys unto themselves. "Emergence" opens with a Brian Wilson-meets-Dark Side of the Moon inspired vocal harmony before shifting into a bare, acoustic, personal conversation, and ending with a barrage of drums and harmonies. Others, like “These Machines Won’t Help Me Walk Again”, hit straight to the point. The most upbeat number on the album, “Machines” ironically sings of immobility before mockingly encouraging everybody to get up and dance.
On the second half of the album, the Lunatic took a risk by stringing three consecutive six-minute songs in a row. However, Lost at Sea, Hannah, and End and Start each have a distinct identity, and do little to drag on, thanks to their shifting compositions.
Maria cleverly pulls together the beginning and end of many of the tracks, giving the album a cohesive feels; too often absent in this digital age of hit singles. The Lunatic also directs the listener’s attention to the distinct separation of side A and side B in the track listing on the band’s website; another throwback to the golden days of full-length albums.
Although Maria has reconnected its listeners with brilliant music, as one would be with a long lost love, the lyrics continually speak of a constant loss. She is the shoreline/And I am lost at sea, belts Mergist in the closing seconds of “Lost at Sea”. However, on “Catharsis”, that same voice finally admits that personal changes must be made in order to cleanse himself and return to the peace he once knew.
An astronaut swimming through the depths of outer space must feel conflicted while aimlessly flailing his arms in vein to get home. The silence would be breath taking and impeccably peaceful, but the loneliness itself would be suffocating and unbearably frightening. But the Lunatic has come forth to let that spaceman know he is not alone. They are down on Earth, looking up to the stars, sharing a moment with him.
1. Emergence
2. Comprehension
3. These Machines Won’t Help Me Walk Again
4. Mind = Dead
5. The Sweet Silence
6. Elmo Castrado
7. Lost at Sea
8. Hannah
9. End and Start
10. Catharsis
✭✭✭✭
I can only imagine the feeling a soldier has upon coming home from war is similar to that of getting back together with a girlfriend you are truly head-over-heels in love with: everything in the world is right once again. Reconnecting with those things in life that once were thought to be out of hand’s reach is exciting, comforting, and oxygenating.
Jack Mergist and Martin Michalek met through their mutual adoration of early Weezer (The Blue Album and Pinkerton to be specific). Eventually they discovered a common interest in all that is quality early to mid 90’s alternative rock. Likening to the greats of this era and the classic pop of the Beach Boys, the Lunatic channel their suburban teenage experiences into a ten-track revival of the melodramatic garage rock of when there was angst, yet no emo.
At first listen, influences on the band are apparent. The Lunatic has the crunch of the Pixies, the vocal harmonies of the Beach Boys, and the tender, whispering vocals of Elliott Smith. But Maria and the Ivory Face is like Shrek’s analogy of an ogre. It’s an onion with layers to peel back. Each listen reveals more of the cohesive identity that the Lunatic has painted itself to be throughout the odyssey that is Maria and the Ivory Face.
Many tracks are little journeys unto themselves. "Emergence" opens with a Brian Wilson-meets-Dark Side of the Moon inspired vocal harmony before shifting into a bare, acoustic, personal conversation, and ending with a barrage of drums and harmonies. Others, like “These Machines Won’t Help Me Walk Again”, hit straight to the point. The most upbeat number on the album, “Machines” ironically sings of immobility before mockingly encouraging everybody to get up and dance.
On the second half of the album, the Lunatic took a risk by stringing three consecutive six-minute songs in a row. However, Lost at Sea, Hannah, and End and Start each have a distinct identity, and do little to drag on, thanks to their shifting compositions.
Maria cleverly pulls together the beginning and end of many of the tracks, giving the album a cohesive feels; too often absent in this digital age of hit singles. The Lunatic also directs the listener’s attention to the distinct separation of side A and side B in the track listing on the band’s website; another throwback to the golden days of full-length albums.
Although Maria has reconnected its listeners with brilliant music, as one would be with a long lost love, the lyrics continually speak of a constant loss. She is the shoreline/And I am lost at sea, belts Mergist in the closing seconds of “Lost at Sea”. However, on “Catharsis”, that same voice finally admits that personal changes must be made in order to cleanse himself and return to the peace he once knew.
An astronaut swimming through the depths of outer space must feel conflicted while aimlessly flailing his arms in vein to get home. The silence would be breath taking and impeccably peaceful, but the loneliness itself would be suffocating and unbearably frightening. But the Lunatic has come forth to let that spaceman know he is not alone. They are down on Earth, looking up to the stars, sharing a moment with him.
1. Emergence
2. Comprehension
3. These Machines Won’t Help Me Walk Again
4. Mind = Dead
5. The Sweet Silence
6. Elmo Castrado
7. Lost at Sea
8. Hannah
9. End and Start
10. Catharsis
