Music Review: Burn Patterns by Phantom Wilds
Favorite track(s): “Burn Patterns" and “A Phantom Wild”
Least favorite track(s): “Sway”
Favorite lyrics: “After Dreams”
It wasn’t until I moved away from Lubbock that I realized how magical of a place it truly is when it comes to music and arts. I genuinely believe there’s no other city with such incredible talent per capita that this lovely Texas city has. And Phantom Wilds’ newest album “Burn Patterns” — to be released Friday — is just one example of that.
The first impression while listening to the album reflected an image of a great collective effort mulled by several creative minds. The following two times reflected the exact same thoughts; it was evident there were many sleepless nights and early mornings for all who were involved in the creation of the album.
The band’s facebook page description reads: “Phantom Wilds combines indie, post-rock, and shoegaze influences to immerse the listener in dreamy, magical soundscapes.” Thought there was a more progressive rock and pop-punk(ish) vibe to the album than expected, '‘dreamy" and “magical” are still accurate words to use.
The “Burn Patterns” album gave off a multitude of feelings. The raw emotion is so unbelievably evident in the lyrics, and this was one of the best aspects of it. Other favorable aspects to note is its use of cross-fading from one song to another and the consistent talent in the instruments played.
These musicians worked hard for perfection, and it was clear.
Overall, the album was enjoyable — and the sound was unique from what is expected to hear from a band based in Lubbock. It was well-rounded in the talents it encompassed. And it was refreshing to witness the thing that others put so much hard work and talent come out as a wonderful piece of art.
Phantom Wilds has strongly branded itself and its style - there is no doubt of it.
Track reviews.
1. Burn Patterns — Easy to listen to
“Burn Patterns” was excellent to listen to in both its style and its placement. The melody of the guitar created a comfortable listening-environment, and the sporadic beat of the drum made it that much better. Like “Opening” by Plini, the talent of the musicians took the instruments that were there and multiplied them to the sound of a thousand. It also gets major bonus points because it crossfades into the next song.
2. Wildfire – Different style, great harmonies
“Wildfire” – which presents a completely different style, and maybe even, genre than the introductory song – feeling more pop punk than alternative rock, post-rock, progressive rock or shoe gaze. To listen to the vocals of the band for the first time ever was a pleasant experience, however. Both lead and backing vocals blended well with one another, lending to a beautiful harmony. Additionally, the beat of the drums remained soft and steady, and the tone of the bass remained strong throughout the entire song. Lyrically, there was some depth, but it wasn’t the best of the album. The only negative bit to review on this song was that it was the second-longest on the album, at 5 minutes, 46 seconds.
3. Sway – Catchy but not the strongest
This song was not the strongest in the album. "Sway" was catchy and played well. The rhythm of each instrument remains upbeat and repetitive chorus makes it easy to remember. The introduction to the song was strong; it just wasn’t as versatile as the other seven songs it is bunched with.
4. Here in the Light — Sounds contemporary, lyrics are moving
Like "Sway," the song isn't as versatile as the other songs on the album. It resembles the contemporary, generic pop punk sound song Mayday Parade would produce. The instruments all maintain a great rhythm throughout, but the quality of the lyrics is the best characteristic of the song.
5. After Dreams — Authenticity in lyrics
Lyrically, “After Dreams” is easily the best on the album – no question of it. The emotion displayed in this song is genuine and raw; it can be heard. Aside from the lyrics, however, the instruments produce a lovely tone and style. About midway, the band plays instrumentally for a little more than a minute, and it was a solid add-in with the perfect mix of guitars, bass and drums. The drums, in particular, stood out powerfully, when risen to this really raucous rapid rhythm and then slowed to an emotional and brief pace. It incorporates every key characteristic a good song would have.
6. A Phantom Wild — Instrumental, but a top-pick
Shadowing a similar sound to “Burn Patterns,” this was one of the best songs on the album. Though it is the longest song on the album at nearly 8 minutes, the sound of the instruments shift every quarter of the song, leaving no room for complacence or boredom. “A Phantom Wild” was the most creative on the album, and again, lent a progressive rock sound similarly to that of famous progressive rock musician Plini. The drums were consistent, and the guitars melded naturally into easy-going patterns. Each instrument played its part, and they were all played well. As soon as I first heard the song, there was no doubt about it that was going to be a favorite.
7. Alone at Sunrise — Bass line and backing vocals are highlight
This song is catchy. The bass line is unique compared to other songs throughout the album. The backing vocals make for a fantastic addition to the song, bringing a really soothing and gentle sound to the album. And the lyrics also add a lot to the song.
8. Summer Moon — Solid introduction and good placement
The song begins with the best introduction on the album. The transition from instrumental into lyrics is seamless after a minute and 15 second of rhythmic goodness. "Summer Moon" begins with a natural and brisk drum beat, flowing into an array of other sounds. It also has the best vocals in the album, not too pitchy, but very smooth and pure. Additionally, it is a great choice of songs to complete the album with.
Phantom Wilds released its debut album, Burn Patterns, Friday. The doors to the album release show will open at 7 p.m. Aug. 30 at Jake’s Sports Cafe and Backroom in Lubbock. All ages are welcome with a $5 cover fee. Special guests include: Arcave (Jamie Bassett), Holly Harper from Glass Cannon, Basking (Will Felty and Aaron Smith) and Indego.
The album cover was designed by Bảo Ngô.