“Cindy White” starts with a smooth vocal melody from the first beat of the song. Soon after that melodic idea is present, the instrumental section comes crashing in, immediately establishing a groove for the song. The general feel of this song appears to be a mixture of new wave inspiration with a pop music influence, but also very alternative in its own way. This is very effective because this produces a sound that isn’t familiar, which makes their audience want to listen to more of their music. Throughout the song, the band utilizes the technique of making some phrases louder and more supported, this is prominent when the band uses the name “Cindy White” in any of their lyrics. This tactic helps to add variety to the selection as well as drive the meaning of the song title to the listeners.

“Caught Up” starts with a subtle electronic set of tones that slowly builds to the next set of vocals. This track starts out with a more relaxed backbeat. This relaxed undertone remains throughout the song; however, the band does drive through the chorus by adding more color to their instrumentation as well as heightening their vocals in range and volume. During the interlude to the chorus, the band drops down in instrumentation to focus on the lyrics that seamlessly lead to the chorus, this is overly effective because it helps lead the audience into the next part, which is well-written and very memorable. This is a foreseen favorite from the album because it is enjoyable to listen to, and it is very memorable.

“We’ve Got Soul” starts with electronics that move in a sequential pattern, almost like a “twinkling” motion. This quickly fades into the vocal, melodic line with a driving instrumental part. This song returns to a groove similar to the first song, which is strong for the band because it brings their audience back to that “jamming” vibe. The percussion part of this selection sticks out, for it provides more dimension by playing with timbres of lower and higher pitched drums: this also helps to drive the groove that is well-received by the audience. 

“Miss Monogamy” starts with an instrumental interlude that provides their audience with a completely new sound compared to the previous tracks on the album. This song, again, has a more relaxed vibe to it; however, the band utilizes heavier percussion hits to help create a groove that is heavier (thinking in terms of actual weight not as in heavier music), which adds more color to the album, instrumentally speaking. This song also has small melodic ideas that fade in and out throughout the song that act as ornaments to the music, which helps to keep the listeners engaged. In the middle of the song, the band includes another instrumental interlude that incorporates a solo instrument that has a timbre similar to the saxophone, which, ironically, gives off a jazz genre-type feel to it. 

“Don’t You Love Me” starts with vocals from the first down beat just like the first track on the album. The instrumental section adds in with the vocals, and they provide a gentle but dynamic backbeat that helps to keep this song fresh for the listeners. The vocals of this song are minimally melodically speaking, but they do play with range to help emphasize certain phrases or words, especially with the lyrics that include the title, “Don’t You Love Me”. In the middle of the song, the band utilizes minimal instrumentation to focus on the same lyrics of the chorus to reintroduce the chorus bigger and better than before the last run of it, in this selection.

“See You Again” starts with beautiful vocals paired with simple block chords in the instrumental part. Through this softer section, the vocalist uses different techniques through the melodic line to play with dynamics as well as range to give variety, and to help convey emotions through the inflections of his voice. As the song progresses, the band keeps the minimal instrumental feel, rhythmically, but they add different elements to help give the song some ornaments here and there. For instance, the instrumental part elaborates on the chords by playing simple melodies. This song, even though there are several tracks that have a relaxed undertone to it, acts as the ballad of the album, and it definitely doesn’t disappoint because it’s just as fantastic as the rest of the songs on the album.

“Fool’s Gold” starts with a single tone that is repeated and does so as it moves up in a step-wise motion, melodically speaking. Soon after that, the band comes in swinging with that single tone motion being the basis of the groove of the work. The chorus in this song is grand instrumentally and vocally: it’s memorable and it sounds, simply put, cool. The band includes an instrumental interlude that leads to isolated vocals in the middle of the song that helps to drive the music right back into the catchy chorus to drive the listeners to the end of the album. This is a foreseen favorite of the album because it is different than everything else on the album, and after listening to it one time, you’ll want to learn the whole thing, so that you can sing it at the top of your lungs. That being said, this was definitely a strong choice for an album closer.

Final Thoughts: Overall, I give this album a 4 out of 5 stars. I think this is a very strong EP for the upcoming band, for this album takes the pop genre and morphs it perfectly with the alternative scene. The vocals throughout are memorable and melodically interesting. The mixture of instrumentation and electronics make this album sound innovative and new; also, this album left me wanting more music from the artist, which is always a good thing. Therefore, if you’re looking for an album to sing loud to while you’re in the car, and an album you can listen to when you’re doing just about anything, this is the album for you. Nicely done!

*”Sunday Brunch” was released on November 17. 2017 through Rise Records.