Vinyl Floor are taking us back to the swingin’ times. Their music is a joyous affair, full of real world messages and anecdotes getting written into their indie rock. Since Apogee in 2018, this is their album release after many years. Funhouse Mirror is the altered reality we’re living in, and this collective has some things to show us.
Opening with Anything You Want, the quick 4/4 with quarter notes ensures that we’re on our toes. Like the title would suggest, it’s a frivolous affair, light and entertaining. A perfect way to start out an album, this warms listeners up to the kind of music they craft. Clock with No Hands is the next, a thematic excursion with an engraved message that rings true. The happy, Oasis kind of swing is sure to put a smile on your face.
Between Lines Undone tries a different trail, with softer instrumentals and echoing harmonics. The unique chord progressions allow for some really nice non-sequiturs in terms of sound. The instruments have a practised dramatic entry, doesn’t draw away from the meaningful lyrics. Dear Apollon plays soon after, with a laid back jazz/smoke room sound. Almost semi-acoustic in nature, the piano aids with the vocals to elevate the track, adding a much-needed textural additive.
Ever, The Optimist switches tone to create a galloping sound, reflecting the positivity of the lyrics. Either the primary melody or lyrics carve a niche for each other-making each song have a solid grasp on the continuity and flow. Pretty Predictable is a tune you can’t predict. With a leading beat, the Gilmour style chord progression initiate a stylish sound punctuated with the guitar and harmonics.
Coming to the title track, we realize we’ve taken so many rides at the carnival and time has flown by. There is a telling trait in these songs, an edge that isn’t held by many for long. Vinyl Floor have maintained and groomed their output of sound to be so uniquely theirs, the running theme is discernable from any jukebox that would play this.
Death of a Poet is a sombre acoustic number. It rolls on some melancholy piano arpeggios, with strings aiding to the resonance of the emotion. By the time the percussions come in, the layers are immense. It can be respected from a distance, trying to be a faction of the theme-yet innovating on new grounds. Stare, Scare has a hard rock twang, compared to the softer, conditioned tracks we’ve heard. The doom style of the composition makes the dread almost palpable, with the accents of the fuzz guitar felt where the lyrics abstain.
For the closing track, we get a glimpse of an epic by Vinyl Floor. They treat us to an acoustic opening, which gradually and creatively builds to blending chorus sections-accented by strings. It sounds surreal, and the journey seems to be worth taking. For all parts of sound and story sung-this album is nothing short of a piece of fiction that could come to fruition. Emotional breaks, enthralling openings and twists and turns make it nothing short of a free day at an amusement park.
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Self professed metalhead, moderately well read. If the music has soul, it's whole to me. The fact that my bio could have ended on a rhyme and doesn't should tell you a lot about my personality.
