Wendell
Big Light,
Little Light
Finding artists like Wendell is one of the reasons we love writing this blog. Listening to their debut EP, “Lucky You Casino,” it’s clear this is an individual with an abundance of musical ideas, a great sense of melody and harmony, and amazing studio skills. Poking around the internet, it would appear that Wendell works at a local art house cinema, as well as in the studio for other artists as an engineer. I don’t know much more than that, other than these four tracks of their EP are all great. This has to be one of the most well-focused and produced EP’s I’ve come across in years. Here’s my review of “Big Light Little Light.”
It’s an all start with the band, in the key of A, around 85 BPM. Bass, drums, rhythm guitar and Rhodes (I think). Right off the bat, the tones are amazing. Very, very warm - sounds like tape and amazing microphones and a live band - nothing that has been snapped to the grid. Would love to know what desk or DAW was used for this. First four measures are all on the 1, just laying down a nice groove that you can take a nap to. When the vocals come in for the first verse he starts with a falsetto phrase that moves down over two measures until the band rises up underneath on measure three to hit the major second chord - damn, that’s beautiful. Dreamy, airy, sound likes the best of the 70’s, if you know what I mean. Lovely break in the middle of verse with some syncopation, and really enjoy how he changes his phrasing to the chest voice on the back half of the first verse to increase the tension just a bit and keeping the track building.
First chorus has an amazing downward chord progression where he goes major on the flat 7 chord (G), and then down to the major 5. That is such a great choice! Listening to how they complied this track with the melody, etc., it doesn’t sound like that was a choice they stumbled on - if I had to guess, I’d say Wendell is well versed in theory and knows how to pull leading tones around to help make choices like this. Also absolutely love the syncopation and subtle hits in the chorus - great work!
Second verse takes us back to the same feel as the first verse and it’s just gorgeous. Love how they have continued to make this track build by adding a tambourine to pick it up a bit, and, change the vocal delivery with just a bit more attack, just a bit more chest voice. There’s also the addition of guitar lines and what I swear is a quick horn line. We’re not to the second chorus yet, but it sounds like Brian Eno placed Al Stewart, Pink Floyd and 10cc in a studio and forced them to write a mid-tempo ballad with all analog instruments, WITH, a chord progression that will keep you guessing. Stunning stuff!
Great build of the second chorus - have to comment here on the great guitar tones that move back and forth between my speakers on the hits (sounds like an old Fender Mustang), and a bass line that is really well executed not only against the kick, but in its note choice and movement. There’s so much room to move around in the song, but whoever played this part clearly understands the beauty of space and holding back.
Then we get to an amazing solo section with an organ tone that sounds like Elvis Costello walked in the room. Great phrasing and mix, and how it lies with live feel from the band is wonderful. This is followed up by a sax solo (at least that what I think it is), in a full on, stoned out vibe that takes us to the finish. Damn. There’s so many things to love about this track that I could go on…. the phaser vibe on the guitar, the minimalist approach to the drums, the background vocal parts….. all of it. Really great work!
Please make sure you scroll down to catch their socials and listen to the other tracks on the EP. “Bloody Nose” is an absolute departure from what you just heard - it’s a nylon piece with another great melody and a vocal production that is as good as anything you’ll hear coming out of major studios. The second verse should definitely bring a smile to your face - even though the hole track is about a nosebleed. The bass line for “Broadus” sound like he hired Paul McCartney to play the line - from his mid 60’s days, and once again, an amazing melody and vocal production. “Sycamore” is another beautiful production with some great guitar work, an amazing full band feel and Wendell’s exceptional vocal work and production. That keyboard solo at the end is way cool - amazing tones, loved being surprised like that!
In a world where everyone thinks that anything musical from Seattle and Tacoma is going to sound like Pearl Jam, Soundgarden or Nirvana, Wendell is showing you that there’s so much more going on up there. I’m going to have to thank my friend who turned me on to this artist - I’m absolutely floored by this project. Great work, Wendell!