Warehouse Eyes - 'Prisms'

Independent Spotlight is a continuing series on Stewart’s blog. The series revolves around independent artists and bands sending their music to Brett to review. No band is promised a positive review, and all music is reviewed honestly in an effort to better independent music.

Warehouse Eyes, a rising indie group from Minneapolis, has released their latest effort, ‘Prisms.’ The five piece outfit is the driving vehicle for the creativity of the husband and wife duo, Christopher Williams and Jennie Lawless. (The group was originally conceived as an effort consisting only of the two.) The introduction of a well-versed backing band adds an intriguing layer of intensity to their music on ‘Prisms.’

‘Prisms’ as a title is the reflection of a central theme. That theme is love, and utilizing it to expand into other territory and topics. The single for the EP and opening track of the record, ‘I Think I Can Live With It,’ is a tune that deals with the rebirth of one’s individuality. Lawless’ vocals deal with themes of shedding your former self and rejecting who you have been to start fresh. Instrumentally, the song is eclectic, toying with synthesizers, cascading electronic composition, and vocal harmonies. The song hits you with a Phil Spector-esque wall of sound as it explores pop themes through experimental routes.

Before digging into the other tracks on ‘Prism,’ I’d love to also touch on the music video for ‘I Think I Can Live With It.’ Typically, I don’t care for indie rock band music videos. They’re either campy, poorly produced, or laughable. Warehouse Eyes’ video is actually remarkably good. It’s artsy, well filmed and well edited, and meaningful. Such a good music video is an extreme rarity in this community.

‘The Same Dream’ continues the group’s foray through atmospheric instrumentation and introspective lyricism. “I don’t love you anymore,” Lawless croons over electronic stylings and diverse synths. Her reverb-soaked delivery is haunting and ghostly. She may be one of my favorite indie vocalists of this year; her voice is stunning. It does help that she’s backed by immense musical prowess and creative direction, though. The band has both those in spades.

There’s a very cinematic aura around ‘Emma.’ The song expands and retracts with compelling tact and lyrically is quite a venture. I was a tad worried when the band expressed how each of these tracks would be centered around the theme of love. I was certain that the five tracks would blend into one another and recycle ongoing themes. ‘Emma’ proves at the halfway point of the EP that that’s not the case at all. Warehouse Eyes’ lyrical pursuits are insightful and peculiar.

My favorite track of the five is ‘Drive,’ the eerie and dark rocker that is carried by a superb percussion section. Those beats are right on mark, and the backing band continues to amplify the duo in the best way possible. Lawless remains mesmerizing and elegant, too. The music is beautifully written, but without her, these songs would lack the passion they boast.

Finally, ‘Prism’ closes out with the experimental ‘Smoke.’ Again, the band surprised me with their diverse soundscapes and employment of unique sound effects. For a sound that has so much going on in the backdrop, Warehouse Eyes maintains perfect control over the chaos. A sense of finality makes ‘Smoke’ a suitable and fluid ending.

‘Prism’ is one of those EP’s that you must listen to from beginning to end. Don’t skimp out on any of the five songs. They feel meticulously placed and each is integral to the finished product. It’s not a concept album, but the songs are interwoven in a way that feels deeper and more interconnected than most albums. Thus, the record is a massive success on every front. Since I’m known for being brutally honest, this kind of review is a rarity for me. I love being able to give it, though. Go get ‘Prisms’ right now. It’s worth your time and Warehouse Eyes is an act worth supporting.

Connect with the band: warehouseeyes.com