A great deal of hype usually surrounds music from the city that never sleeps.
The Strokes were unfairly labelled the best band to ever come out of New York and so it goes on, as each new band is discovered. Seymour Glass-named after the tragic J.D Salinger character-have no wish to be pawed over and would rather the music world would accept them for the music without publicly committing commercial suicide. A little ironic considering the character from which they have taken their moniker, but an attitude that will surely pay handsome dividends when success taps them on the shoulder.
Just as the likes of Keane and Snow Patrol have been making there assault on the charts with a less is more approach, Seymour Glass supply there own take on the minimalist theme. Intricate piano layers find themselves comfortably side by side with distorted guitar chords, whilst Artie Kitchens worldly lyrics, expand the soundscape with an almost Radiohead demeanour. There’s no shortage of tangible hook lines however and the chorus complements the arpeggio piano fills of ‘Trigger Finger’, whilst on ‘Rocket Science’ the orchestra-conducted by the band themselves-provides an unusual backdrop to the haunting melody. Equally ‘Broken’ features a double bass and the heavily programmed feel to ‘A Drive By’ has a dreamy ambient quality about it.
‘Note to Self’ is as innovative a record as you are likely to hear and given the current music climate, it has appeared at the right time to capitalise. As if taken from a J.D Salinger book from whence their name came, it only remains to be said that the honeymoon is over and if this band aren’t the next big thing it will be tragic.