Breezers – Hideaway
This L.A.-based unit is on their 4th studio CD which has been described as a darkly romantic take on traditional forms of Western folk. Headed by Evan apRoberts (spelled correctly) he’s utilized the moniker/musical i.d. Breezers since 2016. This set was co-produced by Evan with Graham Gibson (drums/bass/percussion/electric piano/synth/piano/lap steel) at several recording locations.
The 12 tracks of Hideaway (Drops March 8/Blackbird Record Label/Indie AM Gold/43:00) were written over a long period, with themes closely related to the wilderness — a place of mystery & possibilities. Despite exploring a musical genre that’s fairly established it’s not the songs so much as the approach Evan charts – it’s creative & inventive.
The material is layered in a folky laid-back scenario with melancholy if not simply pensive. The vocals simmer when sung in a unified tonality rather than a harmonic Crosby, Stills & Nash style. “No Problem,” is a lo-fi beauty with its swirl of synth-orchestration. Whereas “Cemetery,” is upbeat & the more obvious addition of a female vocal enlightens the delicate country character.
I won’t deny the music may take some getting used to. The playing is competent & the vocals are smooth. What makes it somewhat apprehensive is the lack of a mainstream/commercial identity. This isn’t your mother’s country music or dancehall pop. Evan designs a purposeful emotive interplay that’s high on sensitivity & not on ass-kicking performances. This is more listening pleasure than a dance floor spin.
Lyrically, there are always interesting words especially on “Noon Breeze,” & “So Much,” married to the gentle playfulness of each instrument. These glow in their musicality & atmosphere. It’s well done & achieves a degree of pleasantness in its sincere down-home sensibility.
If Evan’s voice was quirkier the tunes would fall between the work of the late Tom Rapp & Pearls Before Swine (“Frog In the Window,” “Sail Away”) which even crops up heaviest with “The Roses.” Swine/Rapp also recorded some lovely work that was gratifying but bruised by an overdose of originality & creativity. Is that even possible?
Strangely, “Orion’s Belt,” sounds like a Keith Richards vocal backed by Pearls Before Swine for an idiosyncratic take. The playing is cohesive & it’s the showcase itself that hooks the ear.
With “Caldera Nights,” despite its memorable Carole King-Gerry Goffin “I’m Into Something Good,” type melodic cruise — is something I like since Caldera was a favorite villain (Eli Wallach) of mine from the “The Magnificent Seven” film.
This & “Caverns Reveal,” are the most commercial tunes of the 12.
Luxurious melodies, plaintive vocals & just flirtations of strains to try & be different. Gotta admire it.
Highlights – “No Problem,” “Cemetery,” “Noon Breeze,” “Orion’s Belt,” “Caldera Nights,” “The Roses,” “Moonlight” & “Caverns Reveal.”
Musicians – Evan (vocals/guitars/slide guitar/bass/mandolin/banjitar/piano/synth/organ), Melissa Louise Castellano (vocals/acoustic guitar/glockenspiel) & Michael Nau (vocals/lap steel/electric piano/synth).
Color image courtesy of their Facebook. CD @ Amazon & https://www.breezersmusic.com/
