Make A Rising

Author: Jason Ferguson
Source: Reax May 2008

“Public Record is a messy, funky and wide-ranging party band.Weaving afrobeat, dub, indie rock, spazzy post-punk, chunks of driving soul and an atmospheric jazziness into their sound, the instrumental sextet is hellbent on defying any strictures of genre expectation. And they certainly succeed… Public Record is as much about sonic bravery as it is about sweaty fun.”

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Music that words can’t describe

This is a sentence I come across often when listening, writing or talking about the bands and musicians I listen to. Not only is it hard (or almost impossible) to pinpoint then into specific genres (one will almost always not be enough) but to actually describe what they play is a daunting task for me. And this is before I said anything about it being good or bad. In this case, it’s very good. It’s even brilliant! This album has many of what I adore about music. It’s refreshing, original, varied, interchanging, dynamic, explorative and experimental. It’s all that, plus well played, well structured and appealing melodies. That’s it, you can stop reading here and go listen to their music on their website and myspace and listen for yourselves. Or you can continue to read on if you want to know more.

But to come back to the issue, if there ever was a band I couldn’t write easily about, describing their sound and style, Make A Rising would be it. A band that has come to create a sound of their own, which while making some references to other bands, is quite unique and very original in their approach and in their musical output. Filled with contrasts and twists, it is music that I love to listen to as it’s filled with fun – not fun in the sense of goofy or humoristic music but fun in the sense that I feel uplifted listening to it. I am at a loss for words to describe their music; it is music to nicely fit under one tag, no style to apply to describe the myriad of sounds that appear in their albums. Make A Rising create not only a cross- genre approach, but also a great mixing of all of those into something that is rarely, if at all heard.

If asked what other bands come in mind when listening to them, again I find myself at odds; there are no immediate comparisons, but there are certain smaller pieces that I can find similarities to the likes of Time Of Orchis (vocals), Pochakaite Malko (use of folkish-elements and the building of an original and quirky style), Kayo Dot (the atmosphere on some of the songs), Cerebus Shoal (in the oddness and quirkiness of other songs) and even Sleepytime Gorilla Museum (some more theatrical side and also heavy riffing parts). There are other comparisons to be made, but the main point would be that all those references are for specific smaller parts in their music and when looking at it as a whole, they have a great sound of their own.

This being their second album, Make A Rising progresses on from their previous album both in production and in compositional style; the latter is built on what was done in the first album and going on from that point onwards. This album, much like the previous one is made up of songs which flow naturally one to the next, while each one has its own distinct identity. The style and rhythm varies between each song and also within the songs. Not only are those different styles mixing together wonderfully, but they’re done very well. The variety also comes into play in the instrumentation that includes apart from the usual rock repertoire, piano, accordion, saxflute, trumpet, cello, marimba, flute, clarinet and violin. This is well heard in the special theatrical and, for lack of a better word, ethnic sound. There are songs, like “Woodsong Pt. 1”, that have the classical instruments playing alone, adding another great facet to their sound repertoire. The continuation of this track in “Bradford’s Big Boatride” is even better as they electrify the previous part, achieving what is to me their best song here; here they create what is a fascinating and excellent mix of most of the sounds appearing on their album, vocals harmonies, great guitar riffing, classical instruments giving their emphasis, brilliant and catchy chorus, fantastic composition overall combining the best of all they do throughout the album. There is so much going on this a bit longer than 4 minute song that it’s such a joy to listen to. They could practically build a small concept on those 4 minutes alone.

What I particularly like is the contradiction they create with their heavy and complex parts and the quieter parts. It is less used here than their previous album. Their use of the classical instruments in both placements and making them suited to those is also very well done. Listen to how the violin is used in both settings. I also am in love with the complex and abrupt changes of rhythm and style, combining them effortlessly. This album also sees them showing their noise-making and improvisation skills (“How’s ‘bout A Love Supreme”), very well done, and I think they should expand on that as well in the future releases.

The band

here shows how skilled they are, and how varied are their influences. They also show that they know how to take a previous achievement (their first release) and improve on it. I have great expectations from their next release based on this.

I feel I haven’t done justice to this wonderful album in my review. If at all I feel I’ve diminished their achievement with my mumblings. This is a fabulous album, one that is already on the top of my favourite albums for this year and is quickly becoming a personal favourite, regardless f year.

More than just 4 stars.

Author: M.J. Fine
Source: Philadelphia City Paper
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Careful what you wish for. If you listen to Make a Rising’s second album, Infinite Ellipse and Head with Open Fontanel (High Two), hoping the avant gentlemen will obliterate your brain, you might not be prepared for how they achieve the desired effect. Rather than fill every space with noise, they overwhelm and then pull back, leaving you alone with the thoughts you were trying to escape in the first place. Opener “Sneffels Yokul” combines restless percussion, hard-rock pomp, digital manipulation, birdsong and a spooky choir to distill your darkest dreams; a prescient (if slightly giggly) children’s chorus sings the disc to a close a moment after the moody keys and muted horns of “Woodsong Part Two” fade into the ether. “How ‘Bout a Love Supreme” builds slowly from a wistful piano melody to a kitchen-sink carnival of grunts and clangs. But when the noise drops out, all that’s left are piano, chimes and a quiet voice. It’ll clear your mind of everything but the existential pain that will dog you until you die. The West Philly collective, led by Justin and Jesse Moynihan, just got back from a three-week tour, so their homecoming show should be even more gloriously sleep-deprived and manic than usual.

Author: Doug Wallen
Source: Philadelphia Weekly

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A funny thing happens once you stop trying to make sense of Make a Rising and simply accept them as imaginative weirdos: Their songs seem less like showy acts of theatrics and more like pleasantly batty pop dressed in flamboyant robes. The West Philly troupe may employ homemade props and costumes, cycle through drastic mood swings in record time, and reach for the stars with their swooning, orchestral racket, but it’s all done with immense affection and an eerie attention to detail.

Skeptical? Pick up their new album Infinite Ellipse and Head With Open Fontanel, and slap on a pair of headphones. See what I mean? Insane though it is, the album gels better and more quickly than their previous effort–2005’s Pitchfork-lauded Rip Through the Hawk Black Night–and is as notable for its sense of control as for its careening energy. That said, if you thought Man Man were the most puckish live band in the town, you haven’t seen Make a Rising.

Between albums, the band expanded to a six-piece lineup that includes piano, trumpet, clarinet, violin and accordion on top of guitar/bass/percussion, and an impressive cast of guests culled from bands like Buried Beds and Fern Knight. The songwriting is helmed by brothers Justin and Jesse Moynihan, who delve into the inherent creepiness and magic of the outdoors to spin their vivid visions.

“Peaceful Paths” is a grandiose number with slow saloon-style piano, swelling horns and harmonies, a foreboding guitar line, and the airy refrain, “Let love find you.” On the other end of the spectrum, “Your Karmic Obstacle” opens with humble clattering and then suddenly becomes a straight-arrow indie rock song for a minute or so, proving Make a Rising could be half-normal if they tried. Thank goodness they don’t, though.

Fri., March 28, 9pm. $5. With Off the International Radar + Pterodactyl. Pi Lam, 3914 Spruce St.

Author: Bob Boilen
Source: NPR’s All Songs Considered
Apr 8, 2008
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“[I was] pleasantly knocked out. What a rollicking, theatrical ride.”

Author: Jim Allem
Source: Prefix Apr 24, 2008
8.5 out of 10
“Make a Rising makes challenging music, but the ample rewards easily outway any demands.”

Author: Steve Klinge
Source: Magnet Magazine Mar 2006

“Adam Arcuragi sings with an impassioned edge that owes a little to both Jeff Mangum and Conor Oberst, and his songs tend toward discursive, stream-of-consciousness forms.”

Author: Greg Prato
Source: All Music Guide

“Picture an amalgamation of Captain Beefheart, Sun Ra Arkestra, the Beach Boys circa Pet Sounds, Radiohead, and the Flaming Lips, and you’d still only be touching the tip of the iceberg. Strap yourself in and get prepared for a wild and wooly sonic ride, especially on such standouts as “Look at my Hawk” and “Lovely It May Seem.” Make a Rising is certainly not your average band, and as expected, Rip Through the Hawk Black Night is not your average rock release.”