By Harley Brown on October 21st, 2011 in
That’s not to say that the album is bad, by any means. Glowing Mouth illustrates Wilson’s impressive, technically precise vocal diversity, if not necessarily his range. The forceful kick drum, tambourines, and lyrical transcendentalism on “Here To Stay” sound like the soundtrack for Wilson’s ascension. “Halfway” is similarly dramatic, opening the album with the lyrics “We are all footfalls into the void,” before Wilson sings the mantra “halfway” in a falsetto framed with distant, stuttering piano chords that eventually build to a crashing crescendo. In those four minutes, Wilson falls again and tries to take the listener down with him. And it works.
By the second half of the album, however, the songs lose what tenuous identity they had developed and start to sound too similar to other artists. When Wilson doesn’t impersonate Ed Droste on “For Disposal” and “Moon On The Sea’s Gate”- whose sporadic, eerily atonal keys evoke Grizzly Bear- his luxurious vibrato manages to crack exactly like Okkervil River’s Will Sheff on “Fright Of Thee”. But Wilson’s voice admittedly produces goosebumps when it hits Antlers-perfect heights against the title track’s prickly synthesizers and lone tambourine. Now all Milagres has to do is become a band for others to sound like.
Essential Tracks: “Here To Stay”, “Glowing Mouth”, “Gentle Beast”
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