Genres: Progressive Rock, Progressive Pop, Post-rock, Math Rock (clean vocals)
Recommended for fans of: Yes, The Dear Hunter, Newer Leprous, Quieter VOLA tracks
Country: Pennsylvania, United States
Release date: 1 January 2024
One book I have always loved is The Grapes of Wrath. Through simplistic and salt-of-the-earth prose, John Steinbeck is able to explore a broad depth of emotions and tell a gut-wrenchingly sad story of tragedy and change beyond our control, treating simplicity and depth not as opposites, but as counterparts. From a meta-perspective, the novel highlights an important lesson about art and expression: more complex is not always better, and flowery, convoluted language can often lead to an obscured message.
Though I don’t know him personally, I wouldn’t be surprised if prog multi-instrumentalist and doer-of-many-other-things Daniel Cupps of Good NightOwl believes the same thing when writing his brand of progressive rock with a poppy and atmospheric post-rock twist. You may be thinking, “Dave, isn’t prog the PEAK of convoluted flowery garbage?” and in principle, I would 100% agree with you. Good NightOwl, however, doesn’t write progressive rock with the intent to make your head spin: the progressive elements in his music more serve as a tool for atmosphere and texture than as a tool for showboating.
Simplicity as a songwriting principle is more prominent than ever on Good NightOwl’s latest release, Belief, where Cupps takes an interpersonal approach to ideas about our beliefs, our identities, and how they shape our experiences with others, a very complex set of ideas explored in simple and cozy progressive/post/pop compositions. Belief feels like sitting in a dark cave and watching a display of warm, bright lights shimmer outside, all while doing some deep reflection on who you are as a person. It can be considered a “sister album” to the previously released Capital, which features a similar compositional and lyrical style but focuses instead on the consequences of greed and unfettered capitalism.
On top of the pleasant atmosphere are shimmery vocals that occasionally deliver a touch of drama à la Jon Anderson of Yes. “Children of No Faith,” “Pretend to Know,” and “See the Light” have the best vocal deliveries, adding a dramatic flair and bringing songs to a climax. The lyrics are also a highlight for me: they are presented conversationally and without pretense or obscure symbolism, a great approach that not only makes the album feel more intimate and personal, but makes it easier to parse the otherwise daunting topics presented. The opening verse of “What They’re Hiding”, for example, includes the lyrics, “I found a way to make you change / I might be on to something / You’re set in your ways at this age / Til I tug on your heart strings,” which is a poignant reflection on how, despite the desire to be rational beings, we are driven at our core by our feelings.
While the vocals stand out and are the driving melodic force in the music, the other instruments often take a backseat: occasionally, a guitar solo or even a stray saxophone will introduce itself, but for most of the album, the attention is drawn to the vocal delivery. When there aren’t solos, guitars are typically relegated to arpeggio or rhythmic duties. The drums follow suit, serving mostly as a rhythmic base with few opportunities to really shine. Some exceptions to this are on “Children of No Faith,” which includes some engaging and fun drum work during a saxophone solo, the gorgeous sax solo on “Pretend to Know,” and the occasional moment when the bass is allowed to shine on tracks like “Children of No Faith” and “See the Light”. I wish that there were more opportunities for the instrumentation to shine, as the moments where they do show compositional brilliance.
One issue with the vocal-led approach on Belief, however, is the mixing. The vocals are a bit buried under the rest of the instruments, making it hard to focus on the most interesting parts of the music. Burying the vocals is also at odds with the importance of lyrics, taking what would have been intimate and personal moments in the music and making them feel impersonal. Moreover, there are many moments where the principle of simplicity falters: oftentimes, the compositions are so focused on texture and atmosphere that it becomes unmemorable. The album as a whole is missing the climaxes and dynamics that make post-metal and other texture-focused music so rewarding while also missing the punchiness and directness present on Capital. On the other hand, there are moments where simplicity in songwriting is strayed from without reward: lyrics will try to follow rhythmic patterns that just aren’t designed for them. I don’t want the lyrics to be overcomplicated, but I would like them to intermix well with the rhythms instead of feeling like an opposing force.
As it stands, Belief is missing a few key ingredients and ends up being a decent if slightly unmemorable album. There are the bones of a spectacular album on Belief; it’s just missing a few core pieces that showcase Good NightOwl’s exceptional talent. However, I’m really looking forward to what Good NightOwl will release next, because with a mix that is more congruent with the album’s strengths, more pronounced climaxes, and a slightly punchier delivery, Good NightOwl could produce some truly gorgeous and unique progressive rock.
Recommended tracks: Children of No Faith, Pretend to Know, The Exultant Natural State
You may also like: Mew, MEER, Tone of Voice Orchestra
Final verdict: 6/10
Related links: Bandcamp | Spotify | Facebook | RYM page
Label: Independent
Good NightOwl is:
– Daniel Cupps (everything)
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