The Family Tree: The Branches | Radical Face

The one-man indie band Radical Face released The Family Tree: The Branches a short while ago, thus being the second installment in his Family Tree series of albums. I was quite excited for The Branches since I thought The Roots was really special, but honestly, I wasn't fond of The Branches on the first listen last year. For some reason, it seemed different than The Roots in a way I didn't like. But, my feelings have changed a bit since then.

"Gray Skies" kicks the album off as a melancholy intro before getting into the first proper track, "Holy Branches." Radical Face has still keep the raw, acoustic sound he's known for, but already, I can tell that we're in a different time period from the first installment, The Roots. Each installment gets closer to the present; The Roots starts in the 1800s. He really is accomplishing what he set himself out to do, and even though "Holy Branches" represents the new time period well by being a little more upbeat and having a jazzier vocal line, it still has a relaxing flow (as most of his music does). It's about a discontented existence... That's really the beauty of Radical Face's songs - they may not be happy, but they manage to represent the ever-human feeling of being unhappy but dealing with it because it's all we can do.

 

"The Mute" follows, and I must note that this is the reason why I decided to give The Branches another shot. I love this song. It's a recollection about how the speaker felt misunderstood by all when he was young and eventually ran away... While most of us don't run away, it's a topic that we can all easily relate to from one point of our lives or another. There are a couple Radical Face songs that deal with the idea of not belonging, and he does it so well. The piano dances over driving acoustic guitars, and there really isn't a proper chorus aside from Ben Cooper (the man behind the magic of Radical Face) vocalizing.

The volume goes down a bit for the fourth track, "Reminders." Something about the guitar in the chorus reminds me of the band Daughter as it's so subtle, comforting, and even somewhat haunting. There's a peculiar sound effect off and on throughout (it kind of scares me for whatever reason yet it isn't off-putting), even aside from the natural static heard throughout. It picks up as the song goes on, adding more instruments and intensity. Once again, Cooper sings of any oddities or seemingly undesirable personality traits, and its a lonesome-sounding track altogether: "So it's better if you were on your way / If you were somewhere far from me / So you could dream I turned out well / And I... I could just go to sleep."

"Summer Skeletons" is definitely the most 'innocent' song on the album, as it paints a vivid picture of how summertime is characterized by children with its swaying vocals and piano line. It has a distinct mood as it includes pretty violin sections (stuff like that always makes me swoon). "The Crooked Kind" also features violin, and while there isn't anything for me to complain about in this song, it just doesn't catch my ear. The lyrics are beautiful nonetheless.

"Chains" is by far one of the most 'modern-sounding' songs (even adding electronic elements) on The Branches, and with the sound of rattling chains and the daunting, repetitive backing vocals, it's unique. I absolutely hated it at first, and I'm still not crazy about the beginning, but over halfway through, the piano really becomes prominent and the song becomes very melodic, very nostalgic. It puts me in the mind of Blue October.

Next, we encounter "Letters Home," which is one of my least favorites as it doesn't leave much of an impression on a musical level. It begins in a very watered-down form before all the other guitars make their entrance. I feel similarly about the following songs, "From the Mouth of an Injured Head" and "Southern Snow" (although I am intrigued by the instrumental second half with its dreamy synth that overlaps the slow, full guitars and backing vocals).

Just when I'm feeling pessimistic about this album, "The Gilded Hand" comes along. This track is quite different than the norm for Radical Face; it's so much more serious and dark with its wistful, repetitive piano line that goes on for nearly the entire song, no matter if the moment is softer or louder, which seems to exemplify a life of working on an instrumental level as well as a lyrical level: "Time is lost, found cracks along my bones / This metal god is all I know." There's even a little bit of electric guitar starting in the second half of the song, giving it an especially full sound (Radical Face's music has oftentimes been rather stripped down instrumentally). Without a doubt, it's one of my favorites.

The last song, "We All Go the Same," begins with a choral blend of Ben Cooper's vocals along with breathy sounds, but that's not the only different thing it has going for it. I believe there's an accordion (I'm not an expert on what those sound like, so I'm sorry if it's actually something else), and eventually a slow, simple series of piano chords as Cooper sings about death. The ending verse actually puts a few tears in my eyes before it cuts off and the album's over... "We All Go the Same" ranks among the most beautiful of Radical Face's songs.

As I said in my review of The Roots from two years ago, The Branches is also a difficult album to describe. It's strange... The songs are different, but not too different altogether, just in some feelings they emanate. I've said it in my review of The Roots and I'll say it here: Radical Face has a talent for describing emotions in the most realistic way. It's what makes him stand out among other artists. In my world, this is the definition of indie in its purest form.

Not every song single song resonated with me, but I enjoyed most of the songs from this new installment of The Family Tree. There is some very sincere musical content on this album that's certainly worthy of any praise it receives.

The Family Tree: The Roots | Radical Face

As I watched the wonderful movie trailer for Stephen Chbosky's The Perks of Being a Wallflower, I noticed the great indie music playing and had to find out what it was. From this search for a song, I ended up discovering Radical Face. Radical Face is a one-man-band consisting of a talented musician named Ben Cooper. This particular album, The Family Tree: The Roots, is the first of what is said to be a trilogy of albums, and it is currently the only album of that trilogy released.

The first song is more of an intro, and it is called "Names." It has a rainy background as Cooper comes in singing with his guitar ever so peacefully. Since it's so subtle, it doesn't really prepare one for the next song, "A Pound of Flesh," which is led by a pretty piano line throughout its entirety. Of course, other instruments and Cooper's voice comes in to begin the first verse, adding layers to the great song. Though one can imagine what a song called "A Pound of Flesh" would sound like, I can assure it's quality music. From Cooper's lyrics, to the music itself, to his vocals, the song is catchy and relaxing. It's the epitome of indie music, and that example doesn't just stop there, it continues in every track.

"Family Portrait" follows, beginning with a choral sound and then stopping for the piano, and eventually guitar, drums, and Cooper's voice. The melody is a bit odd-sounding, almost quirky. Lyrically, the same can nearly be said, though they're more unusual than quirky. More than anything, Cooper is telling a story, which is really what this trilogy of albums is all about anyway. Still, I can't get into this particular song.

The fourth track is called "Black Eyes," and unlike the other songs, it has an eerie melody to it. This seems to help demonstrate the angry lyrics in a crazier way than they might have been on any other album. Don't get the idea that the lyrics aren't well-constructed, though, for they are actually quite good. And though this song is full of rage, it isn't loud and obnoxious. Much like humans dealing with anger on a day-to-day basis.

In "Severus and Stone," the pretty element found earlier in The Family Tree: The Roots returns. But it's a bittersweet sort of pretty, because it's actually a very sad song about the death of a twin brother. Honestly, I cried. Ben Cooper's lyrics paint a picture that's almost too clear, making it more like poetry than typical song lyrics which are often too vague. This song is certainly a highlight from the album and one of my personal favorites.

Like a lullaby, "The Moon is Down" is a soothing, subtle (but not in a bad way) love song. Seriously, Ben Cooper might sing one to sleep while listening to this track. There's beauty in the simplicity, like with most of my favorite indie music. "Ghost Towns," the seventh track, brings a bit of a different feel than "The Moon is Down." It's more upbeat, more of a walking song than a sleeping song, but still touched by the melancholy reality of physical separation though love is still present. I enjoyed it.

A distant thunderstorm can be heard in the next song, "Kin," which sounds like a rainy-Sunday song even after the rain effects are gone. There's nothing bad about this song (other than the fact that it'll be annoying when stuck in one's head at night) but it just doesn't please me as the rest of the songs do.

But, a love theme returns with "The Dead Waltz." This time it's almost a dreamlike story, yet it's still so realistic. Untainted by negativity that can prevent love as described by "The Moon is Down" and "Ghost Towns." Though I like it better than the last song, it still doesn't seem to entice me as much despite the lovely lyrics.

"Always Gold" is the tenth track on The Family Tree: The Roots, and probably the most likely to do well as a single. The beat of this song is clapped out, giving it a more spunky feel in the verses, but the chorus removes that vibe in order to bring the listener chills. It frustrates me that I can't really explain why this song is as great as it is, so just go listen to it. Go listen to this entire album.

Cooper saved an amazing song for last on this album, and that song is called "Mountains." I am at a loss for words for this song. Truthfully, it's hard for me to describe any of these songs, and it's quite obvious since this review is so poorly written in its repetitiveness. All I can seem to say is this: It's amazing how well Radical Face describes life. I don't think I've ever heard it described so well until now, and this goes for both the music and lyrics. Life isn't a black-and-white subject, it is a grey area. Things aren't just sad or just happy, but often bittersweet, since life comes with a magical combination of positives and negatives that balance each other out. But then again, this doesn't go for just "Mountains," it goes for the whole album.

On a more specific note, "Mountains" is about a boy who lost his mother and is assured that she's still there watching over him. Each night he has a hope of seeing her once more, and it almost feels like everything is okay. The piano is beautiful, as usual, and Cooper's voice is calming, as usual. But there's something about the semblance of it all, the way in which the message is carried out, the way in which it was written.

For whatever reason, Radical Face's The Family Tree: The Roots is difficult to explain and describe. The lyrics are moving. The music is calming. Sure, similar instrumentation is used over and over again in each track, but the tracks don't blurr together either. It doesn't make it boring in any way. The reality of real life is demonstrated in such a beautiful, poetic way...

This is one of those albums I can't help but reccommend to anyone and everyone.



(As of now, there will be no more star-ratings.)