Bel Auburn: Press

"We love music from Iceland, houses with front porches, the way the light clings to the Midwest, and are card-carrying anglophiles," declares Bel Auburn. And gee, who isn’t? The Ohioian five-piece returns after their 2004 debut Cathedrals with Lullabies in A & C. I didn’t just include that quote as a cheap way to kick off this review, it displays a warm normalness (they frequently speak of their love for Ohio) alongside plain oddity (Iceland…really?). Their music is the same. Warm melodies like Band of Horses or Sleeping At Last, but intermixed with bits and pieces that bring up the suspicion that not all is as it should be. Bel Auburn inject distorted Pink Floyd and Radiohead into their summer-esque music, and the whole thing comes off as a less-shoegaze version of My Bloody Valentine. Or, in other words, brilliant. "Metropolitan (Watercolor)" combines very intimate guitar lines with explosive, shoegazey melodies and dramatic vocals. Songs like their "Lullaby in A" and "Lullaby in C" are expansive landscapes, and the whole album gives the feel of a half-dream, half-summer-sunset experience, all melded with ear-catching effects that keep you awake through it all (not that it’s so boring that you’ll feel inclined to sleep, but these truly could be lullabies). "Blind Ward" contains some very U2-like guitar riffs, all supported by a fuzzy shoegaze backdrop that float by like clouds in a blue sky (possibly in Iceland). Bel Auburn deliver sun-filled melodies in Lullabies in A & C, songs that pull ambient and shoegaze influences into a picturesque – albeit odd at times – experience. And they’re anglophiles, what’s not to love?

MP3 blogs have come a long way in the last few years. Bands that have benefited from blogs, like Beirut and Clap Your Hands Say Yeah, have often been cited as examples throughout the music industry.

Now, Internet savvy bands (and labels) have started to take their online destinies into their own hands. Many bands actively contact blogs in attempts to have their music promoted. Of course, this phenomenon is nothing new. Artists, and those who represent them, have always had a close relationship with the media, traditional or otherwise, to get their music noticed. In some ways, both parties have become dependent on each other. Bands need the media's attention to grow and critics need a constant flow of new music to do their jobs well. You could compare it to a natural ecosystem. If you remove one party the whole thing collapses.

Ecosystems tend to do one thing very well: they evolve. When the conditions that surround them change they immediately adapt and improve. Those elements that fail to adapt disappear over time. The same goes for artists. Those who learn to harness new media will have the highest chances for success.

Enter Bel Auburn. The mid-Ohio indie rock band has been more active than most bands in promoting itself on the Internet. Several factors have made Bel Auburn one the most blogger-friendly independent bands around.

Their guitarist, Jared, has personally contacted me on more than one occasion. It's fair to assume that he's done the same with several other blogs. That kind of perseverance doesn't go unnoticed. What has separated Bel Auburn from many others, however, is the way their website caters to blogs. On the site's homepage is a list of blogs that have written about the band. Bloggers have very low self-esteem. That's a scientific fact. Although they may not want to admit it, they will often be more likely to support a band that supports them back. The blogger love displayed on Bel Auburn's website works on two levels: as a nice gesture and as added incentive for bloggers.

Bel Auburn also encourage bloggers to post their music online. The band's upcoming album, Lullabies in A & C, can be downloaded (for free!) from its website. Such a move would have been hard to imagine only a few years ago. Bands like Bel Auburn are betting that they can reach more people if they share their music online for free. For many, that bet seems to have payed off. Bel Auburn is currently listed among the 10 most blogged-about bands on The Hype Machine. Of course, it helps that their music doesn't suck. If it did all their efforts would be for naught.

As blogs continue to expand into the mainstream's consciousness I suspect bands like Bel Auburn will become the norm instead of the exception. Only time will tell...

Cathedrals, the full-length debut from Ashland's ambitious indie-rock troupe Bel Auburn, is as ornate and exquisitely crafted as its titular buildings. Consisting of 10 songs and 10 vignettes, the latter of which all contain a pronounced spiritual bent, this is a collection of stained-glass pop and literature that's unabashedly sweeping in scope.

"It's not the math that's all wrong, just a lack of heat," frontman Scott Williams sings at one point, attempting to correct the imbalance that plagues much of modern rock by complementing swelling, sophisticated pop with unchecked emoting. Climactic slash-and-burn emo ("The Speed of Thought") crescendos next to papiér-mâché ballads, beautified by piano ("How Not to Get Caught") and trumpet ("Hands, Away"), with Williams's pleading lilt often rocketing to an exultant yelp. When it's all said and done, Cathedrals casts a long shadow over Bel Auburn's indie rock contemporaries.

Indulge Bel Auburn in a Choose-Your-Own-Adventure quandary: Imagine yourself a member in an indie outfit of mid-twentysomethings who wants to make a record that reaches artistic peaks only a band like Radiohead has scaled. Do you

a.) Throw in the towel and fill out an application at the local Starbucks?
b.) Buy a bigger amp, sport your sister’s slit prom dress and settle for becoming the next “The Darkness”?
c.) Submerge yourself in your parents’ garage, rename the band “The Grungies” and pretend you don’t know how to play your instruments?
d.) Shoot for the stars knowing full well that, while you’re destined to fail, you still might end up with a pretty solid debut on your hands?

Though choosing c is the only sure-fire path to a lucrative record deal in the present musical clime, Bel Auburn, as we hope you’ve guessed, opted for d and, in the resulting album, Cathedrals, they find themselves on terra pretty darn firma.

As debuts go, Bel Auburn impresses with their reluctance to play it close to the vest. These ten songs certainly aren’t stylistically groundbreaking, or even trendsetting, but they are sophisticated, whimsical and, most of all, earnest.

Singer Scott Williams has an endearing voice—at once vulnerable and pining—that soars above the instrumentation on tracks like “The Speed of Thought” and “Sing What You Mean”. The guitar work is densely layered, less concerned with progression than repetition. Wall-of-sound atmospherics dominate here, leaving Williams ample room to improvise. The drumming, though, seems to want to go faster than it can, though this may be more attributable to a paucity of production acumen than a shortcoming of the musicianship.

Like others in the herd of Radiohead-influenced bands (Coldplay, Interpol, Travis, Palo Alto and Remy Zero, to name a few), Bel Auburn shares an affinity for sparkling, emotive vocals against a backdrop of introverted instrumentation. These guys aren’t interested in rocking out. They’re content to sing about their woe and, in the process, woo your girlfriend right out of her panties. And, in this, Bel Auburn is remarkably successful. Cathedrals seeps at the edges with emotion. No doubt for some, this will constitute an unpardonable turnoff, but at what National Indie Convention did earnestness become a no-no, anyway?

“Sing What You Mean” labors past an intro that’s weighted down by heavy-footed drumming, only to abruptly stretch out into a gorgeous chorus, as Williams sings, “Sing what you mean when you notice me / Noticing you”. On “How Not to Get Caught”, Williams’ voice is well-matched with a simple piano accompaniment that builds to something that would not have raised an eyebrow were it included on Coldplay’s A Rush of Blood to the Head.

“Glass”, barely a minute of music, showcases Williams’ voice as it slips in between an acoustic guitar and violin. A minute long song usually indicates a studio throwaway spliced into the mix to fill out a slim album, but “Glass” is the exception. Who said something so brief couldn’t be so satisfying? Besides my girlfriend.

“Physics for Poets” rides a flabby guitar riff that is simply too familiar to impress and a couple of the songs here (“Bright” and “Polestar”) are a bit too similar sounding for this reviewer’s palate. However, on “Hands, Away” Bel Auburn pushes the creative envelope furthest. A venerable orchestration of instruments (violin, trumpet, plus the usual suspects) unfurls over an inexplicably gentle industrial beat, forming a delicate, ornate musical tapestry which perfectly evokes the bleakness of midwinter in the Midwest. A gem.

Bel Auburn shows a lot of promise here, but they’ve yet to take the sound they inherited from their favorite band and make it their own. Debuts, however, are more about showing off one’s talent, and Bel Auburn has some to burn. I just hope my girlfriend isn’t listening.

Undoubtedly, "Cathedrals" by Bel Auburn is the most beautiful album I’ve heard in ages. It is neither pretty nor gorgeous. It is simply devastatingly beautiful. Bel Auburn is a classic rock band that’s been enchanted. The melodic sound is textured and layered. Each instrument’s energy remains proportional with one another. And, it does help that the singer has a mesmerizing voice.

The words are also placed together meticulously, in a most perfected fashion. Bel Auburn poses striking images from the opening lines: “in the quiet burn of halos…” Other utterly celestial pictures they paint are “all the air above us sings, into melodies we fold,” and “holds all the light like glass.” Numerous references to flying, heaven, angels, the sky and light make this an uplifting experience. The lyric booklet also includes a small story alongside each song. These vignettes are as beautiful as the lyrics. They tell human stories of deep emotions explained only through poignant metaphors.

A strong Christian influence is prominent through each song and vignette. This religious affiliation won’t prevent nonbelievers from enjoying something so sharply stunning, however. But at the same time, their sincere faith and trust while you’re told to “sing what you mean,” is so admirable. Their genuineness touches you. Cathedrals exhibits Bel Auburn’s commendable musicianship, earnest effort and passionate originality that left me overcome with awe.

Ashland, Ohio’s city website says, “Our community truly enjoys the best of both worlds. We have the quietness and safety of a small town, mixed with the technology and opportunities of a large city.” Like their hometown, Bel Auburn offers quiet familiarity, quaintness, and a little something bigger. This quintet flexes many of the same muscles as the great unsung emo and indie rock bands of the mid-nineties, most notably Seam, Mineral, Christy Front Drive, and Texas Is The Reason (especially on “The Speed Of Thought,” “Sing What You Mean,” and “Polestar”). Thankfully, when the band gets the urge to pick up an acoustic guitar (“Glass”), they rely more on the legacy left by Elliott Smith or championed by Currituck County, than the swag that poseur with the pompadour is selling as emo. They also offer a bit of progressiveness here, in both concept (each song is the response to a different vignette about Cathedrals) and production value (discovered much later that it was John Fintel at Relay Recordings who cranked the knobs. That MF is like the Mark Trombino of Ohio). Bel Auburn’s octave playing goes toe to toe with a Jimmy Eat World, and their piano skills ring of the same subtle swing as a Coldplay (“Hands. Away”). The final track shows the band ending on a very high note; if Mineral had covered Radiohead’s “High & Dry” it might have sounded a lot like BA’s “Cathedral Vision.” Though Ashland isn’t any place I’d like to spend more than a day or two, Bel Auburn’s Cathedrals delivers enough of a unique take on a sound that I have nostalgia for to warrant an extended stay in my CD player.

Out of Ashland, Ohio comes indie rock act Bel Auburn. These guys are unlike anything you’ve heard before, somehow giving new meaning to the phrase "melodic rock" and yet never losing their indie-edge. They’re the kind of band that you are either going to love or hate. There’s not really much room for middle ground here.

Cathedrals opens with "The Speed of Thought", a four-and-a-half minute song with a mere five lines. The opening guitar riffs play out like the beginning of an emo-flavored song, and it’s over a minute into the track before the vocals finally kick in. Unique in and of themselves, the vocals are somewhat reminiscent of the equally as unique vocals of House of Heroes or Sleeping at Last. They seem to be distant, yet intimate.

Lyrically, romantic love seems to be the topic of choice. Though, sometimes, it appears the band may be talking about a love for God, and the love He has for us. The difference is never clearly defined. The songs are all very well written, however, adding even more depth to this superb release.

Bel Auburn is a band to keep your eyes on. The recording quality is not up to par, but these guys have enough going for them to get a long way in the music industry, possibly even mainstream. Bel Auburn has an incredible future to look forward to, and I anticipate it greatly.

Ohio's Bel Auburn beautifully and skillfully capture the energy and emotion of crisis moments. Crisis moments are not necessarily instances of danger or dread; they're the moments where things change, irrevocably. Musically, the band coaxes these moments from small change. On occasion, these are tiny climaxes in the band's alt-country-flavored songs. More often, it's the simple twist of melody or the extra beat of sustain that pushes the music over the edge. The beauty of these moments is in their combination of melancholy and hope: it's like watching your child, oblivious to your presence, pass another milestone, a move that brings them closer to fruition and you closer to obsolescence. The melancholy comes from a longing for a world where things can remain the same forever, but this is tempered by the hope and promise that the change brings. Bel Auburn clearly, delicately capture this mood.

Although the album title and obvious imagery relates to cathedrals, and the hope and awe that these structures inspire within us, the album's running thematic thread is the inevitable force of change and the acceptance of this fact. Each song contains a line relating to this theme. For example, "How Not to Get Caught" repeats the refrain "We are not made for time / to hold us back forever." Similarly, the closing "Cathedral Vision" declares that "Our last song waits for one more voice / and when you come, we are final." These confident statements are matched by the music's confident, full-bodied melodicism. The songs are skillfully constructed by simple yet engaging melodies that ebb and flow with a natural movement. Although primarily guitar-oriented, songs such as "Hands, Away" add additional instrumentation, the better to keep the music varied. Slow, sweet moments such as "Glass" work to change up the tempo relative to the shoegazer pace adopted by most of the material.

In addition to the fine music, each song is accompanied by a short story. As with the music and the lyrics, these focus on crisis moments in which failed quests are resolved and prisoners obtain long sought-for freedom. Although these tales do not necessarily enhance the music, they highlight the varied emotions and types of crisis moments, and therefore further the overall mood. Even without such adornment, however, these are beautiful, touching songs that capture complex emotions and leave you filled with hope.

This is an album full of promising beginnings and disappointing conclusions. Like a middling, second-rate mixture of Coldplay and Mineral (heavy on the Mineral), Bel Auburn have no problem constructing songs that are “pretty” and “nice” but can rarely figure out where to go from there. The album opens relatively strong with “The Speed of Thought”. It’s got a pretty typical “attention getter” melody, but the ultra catchy chorus vocal is what really sets the song apart. “How Not to Get Caught” also boasts an excellent vocal hook but yet another cliche melody comes along with it.

“Bright” is an example of one of those “disappointing conclusions” I talked about. Those first two songs I mentioned kind of got me thinking this album might be a little something more than cookie-cutter emo rock, but then “Bright” came along and convinced me otherwise. The song starts out with some muffled acoustic strumming recorded in mono for a couple measures before “bursting” into full-band stereo -- probably one of the oldest and most played tricks in the book. The whole song, in fact, seems to have been borrowed from that same book. All of its chord changes, drum beats and bass lines have been played out a million times before. The song eventually attempts to drag itself out of tedium by building to a noisy, climactic ending, but pounding the crash cymbal and strumming a little faster makes the conclusion sound much more awkward than dynamic.

The rest of the album follows a similar pattern -- a somewhat good song followed by a painfully mediocre one. “Hands, Away” is easily the best track on the record. It’s got a perfectly fitting beat, a sweet haunting trumpet line and a lazy but enveloping guitar hook. It’s a shame that such an excellent song should also be followed up by such a cheesy, forgettable one like “Polestar”... another unfortunate disappointment. But at least by that point you’re already half-expecting it. This album is so close to being good that it hurts.

Bel Auburn is a new band coming from Ohio. They have released an EP by themselves before signing to the Damselfly Records label for their new full-length Cathedrals. Their sound is almost set for the big stages with a larger than life production. Cathedrals opens with a track called "The Speed Of Thought" with a bit of a U2 feel guitar echo happening. This is the song where I got the "big stage" feel for the band. On this track the lyrics are a little sparse with about 4 lines of them, but if you weren't paying attention, you probably wouldn't notice. The second track, "Sing What You Mean" starts out very strong but seems to lose speed when Scott Williams starts to really croon. It just seems like it goes on forever even though the song is under 5 minutes long. Then they get into the ballad thing with mixed results. It's the gentle guitar picking that you can hear on tracks like "The Longest Year" that sets Bel Auburn apart. Bel Auburn is a band that shows some very big potential on Cathedrals. They haven't quite tapped into all their possibilities but with some maturing, this band will top all of the charts. I would also like to comment on the very professional liner as well. It's about 20 pages with lyrics and song descriptions as well as some classy artwork.

Cathedrals, announced by the CD booklet's front cover, is "ten songs & ten vignettes written and performed by Bel Auburn." Inside the cover we learn that it is also the "first edition" of its pressing, hinting at future editions with a preface by John Updike and accompanying Cliff's Notes. The amount of work that went into creating the booklet alone is astounding. As an album-artwork-ophile I could write 200 words about its weight in my palm. Each song on Cathedrals is accompanied by a short story, and is also ascribed a section of the physical cathedral to represent it (narthex, nave, spire, altar, etc.). The songs are well produced and performed by the Ohio band, with yearning, dramatic choruses and loud/soft dynamics that befit the nature of the project. Highlights include "Sing What You Mean," played with such conviction that you don't even notice headscratchers like "but forgiveness recalls still / In repose we are statuesque," and the stately piano-based "How Not to Get Caught," which suggests Coldplay doing their Radiohead-with-hope thing. Overall, the music is adequate if not wholly original modern rock, a description that would be damning if the songs themselves didn't feel like one part of a larger puzzle. This is Christian rock at its most conceptual. Even if the songs don't always live up to their ambitions, it's an impressive debut, and worth tracking down and spending time with, even if it takes a semester or two.

Regardless of their music, this Ashland, Ohio, band should win the prize for best CD packaging--the liner notes for Cathedrals and their website, for that matter) has some of the best design I've seen. Thankfully, the band doesn't pop the cork there--the music on Cathedrals is good as well.

A concept album of sorts, Cathedrals is the indie equivalent of The Wall. While there are no tales of drug abuse and self loathing, Bel Auburn does plenty of soul-searching and spiritual yearning. Where bands like Sunny Day Real Estate and, more recently, Pedro the Lion, play up their spiritual sides Bel Auburn seems to let the music do the talking. They take their "Sing What You Mean" to heart--the songs on Cathedrals are an odd mixture of emo and shoegaze, and flow together seamlessly from beginning to end.

Emotions run deep--on "How Not To Get Caught," a Coldplay-sounding heartfelt ballad sung with a fragility rarely heard in music today, Bel Auburn shows the depth of their songwriting ability. Akin to Jimmy Eat World or even Death Dab For Cutie at times, Bel Auburn is adept at wearing its heart on its sleeve and the band's songs exude a quiet intensity. It's an interesting mixture that demands constant focus.

Tracks like "Bright" and "The Speed of Thought" are more upbeat songs that provide contrast to some of the more delicate music on the album, while "Hands Away" is an experimental track that Radiohead would love to claim, its drumtrack a stark backdrop to the song's mellow instrumentation. "Polestar" is a sneak attack, changing the album's pace again and switching the mood at just the right time.

By the time the nearly 15-minute "Cathedral Vision" begins, the listener is awash in emotions--no words can adequately describe the feelings that are experienced while listening to Cathedrals. The album slowly takes it toll, but it's something I wouldn't trade for the world.

Hailing from the small town of Ashland, Ohio, alternative rockers Bel Auburn have managed to deliver a promising debut of emotional, textured rock that successfully portrays their talent as musicians. Clocking in at a little under an hour, Cathedrals starts and ends on similar notes, staying throughout on a tone of rock grandiosity in the vein of a Silverchair or Sense Field. Thankfully, the album isn’t hurt by this too much, as the group’s skillful songwriting manages to keep the listener enthralled. Singer Jared Crooks’s serene, soft voice gives form and power to the band’s melodic instrumentalism, which makes liberal use of piano, trumpet, and violin.

There’s a lot to like about Cathedrals. The body of songs starts off with “The Speed of Thought,” an uptempo rocker heralding Bel Auburn’s arrival with churning, expertly-layered guitars and one of Crooks’s few ventures into higher notes. “Sing What You Mean” continues the group’s unbridled optimism, as pounding drums and stop-start guitars punctuate an enthusiastic chorus. The excellent “Bright” succeeds with its sheer intricacy: three guitars undulate over and under infectious vocal hooks, then break out into a minute of effortful jamming. “Hands, Away”’s paced, deliberate tempo mixes well with ghostlike vocals and a haunting, recurring trumpet.

Bel Auburn has managed to craft an impressive arrangement of heartfelt, melodic music that would appeal to any fan of rock. Drawing on the influence of bands like Coldplay and Collective Soul, yet successfully adding their own style and charm, this group of upstarts has more than made their mark on the map.

Emo's not dead! At least that’s what Bel Auburn would like us to believe. At first spin Cathedrals is textbook emo all the way, bringing to mind Sunny Day Real Estate, Fire Theft, Dashboard Confessional and Jimmy Eat World. What differentiates this album are its religious-themed lyrics adding up to a concept album devoted to glorifying houses of worship.

It even comes with a textbook of sorts – “Ten songs and ten vignettes written and performed by Bel Auburn” – sprawling across 24 pages. It’s an impressive concept from theme to packaging, and it’s exactly the sort of thing to fuel the dreams of good little Catholic girls and get their white cotton panties all in a wet bunch. Unfortunately, if you're not a blissed out teenybopper who's into emo, this album won't do much for you.

Remember kids, keep music evil. Hail Satan!

I fist saw Bel Auburn opening up for Flickerstick last fall in Columbus, OH. I had never heard of the band prior to the show, but from the moment they took to the stage their well crafted songs swept over me as I slowly became hooked. Whether it was the seemingly personal vocals of frontman Scott or the assortment of sounds Jared coaxed out of his guitar with a violin bow - they managed to infect the audience with their music. Much like Connor mentioned in his previous post on Final Fantasy, they created one of those rare concert moments where you completely forget about the band you originally came to see. As their performance ended I made my way to their merch table and picked up their CD, Cathedrals, playing it nonstop on the car ride home and more and more on my computer. Cathedrals drips with the hard work Bel Auburn put into it; the album insert containing a short story about the origins of each song.

Be sure to look for an album coming from these guys soon, as they have been consistently updating their MySpace with a load of good songs and information. They're a band that can only improve as their career progresses and one that is amazing in concert, so be sure to try and catch them when they head your way.

Critics Pick: Bel Auburn

(Ashland, Ohio) Indie Rock

Fusing a number of disparate elements into a dense and melodic concoction, Bel Auburn manages to sound unique while strangely familiar on their 2004 debut, Cathedrals. Liberal use of droning guitar and samples almost earn them a Post Rock label, but the solid hooks and pleasant vocals thwart that tag. Providing something of a record of the band's development, the album contains some obviously-acoustic-penned numbers as well as more experimental tracks that show them composing with a broader palette of sound sources. All of it is done well, and as a bonus, their lyrics are pass-for-poetry good; their Web site (belauburn.com) contains a journal full of erudite writings deconstructing each song. It would be horribly pretentious if the whole thing weren't so damned interesting and well-written.

Dig It: Remy Zero, Death Cab for Cutie, candidate for the 2005 "How Can They Not Be Signed?" Award (EW)

Bel Auburn's music is so wonderfully moody and atmospheric--and then the hooks really grab you!   Lord knows I hear a lot of great music, but this is one disc I can't stop listening to.

In
"Cathedrals" Bel Auburn has given voice to architecture, sound to longing,
and hit upon what all art strives to discover : its own way of expressing
the connection between heart and light. This is poetry. It lifts you up.

I came across this website the other day with this band giving away their music for free and I like what I've heard so far so I thought I would pass along the website for all to enjoy. You can download or listen to their album here. I think the song called Metropolitan (Watercolor) is the best so far, so maybe you should start there. You can also get a quick listen to them at their myspace before you commit to downloading their music and wasting your hard drive because we all know how annoying that is.

"Cathedrals" is an excellent blend of music, lyrics, art, and creative writing. Bel Auburn has set an archetype to follow.

The return of Radiohead sound. This is utterly accidental post and no pattern, I promise. Bel Auburn is a 3 years old band from mid Ohio who just release their self published album Cathedrals. All recent Rock glitch tech are in there, The Flaming lips, Radiohead, and mid western rock ala Led Zeppeline One thing strike me from their album is the clarity of their recording, it’s a highly crafted piece of audio engineering. I like the voice balance.

Bel Auburn is from Ashland Ohio and consists of “Scott, who plays the telecaster and sings the most; Mark, who plays the drums and sings the second most; Jared, who writes all the lyrics and makes noise with his guitar; Justin, who is Jared’s little brother, and the guy on stage with the laptop; and our most newest addition, Mark Abrams, who plays bass and helps us work the rest of our instruments.”

Before this evening the only thing I knew that was from Ashland, OH was Grandpa's Cheesebarn, and to be honest with you, I know very little about Grandpa's Cheesbarn. I assume it's a joint with an old dude selling cheese. Yet, in spite of the intriguing name, I have yet to set foot in Grandpa's Cheesebarn or Ashland, OH for that matter.

This all changed tonight as I started listening to the latest cd by Bel Auburn, an indie rock band out of Ashland, OH, entitled Lullabies in A and C. Surprisingly, for a band who call the rural locale of Ashland home, Bel Auburn have a rather sophisticated sound. Drawing from the best aspects of bands like Radiohead, Sunny Day Real Estate, and (Clarity era) Jimmy Eat World, they create wide ranging and expansive dreamscapes.

The aptly named "Lullaby in C" is the perfect place to start your listen. The verses are sung as if they are short on oxygen as the guitars stretch delicately off into space. "Blind Ward" is the peppier of the two songs I'm featuring. It still has that certain dream-like quality to it though the bass has a bit more bounce and there's the occasional punctuation of a stuttering guitar line. All of this builds to an exquisite melody sung at its closing.

Bel Auburn, a band out of Ohio, releases their second record, entitled "Lullabies in A & C," on August 14th, but you can download it from their website, here. It borders on elecronica, and I’d say its for fans of Postal Service, The Stars, maybe Radiohead. A bunch of other bloggers have already picked them up, so it may be old news to you, but if it isn’t, then go get it.

The song, “Good Night” alone is worth the trip, as it’s been stuck in my head all morning.

The sound of Bel Auburn is enjoyable, a bit melancholic in the moments, coloured with fuzzy guitars end electronic tunes present in most of the songs. It's perfect music for the moments when you wish to lay down on your bed, close your eyes with your headphones on, and let the music do the rest. Check it!

Bel Auburn is a quintet from Ashland, an idyllic Ohio town some distance southwest of Cleveland. I say idyllic despite never having been there because the sweeping soundscapes that Bel Auburn have created are anything but ugly and uninspiring. In fact, these tracks, all from the band’s second self-released LP, Lullabies in A & C, are about as anthemic, emotive, and polished as you’ll find from a group of friends living off the cultural grid. It’s reminiscent of Coldplay or early Jimmy Eat World, the latter of which Bel Auburn claim as an influence. The lyrics can drift into codes known only by their author, but once a warm blast of guitar kicks in and (Scott) the lead singer lets go with a cathartic chorus, you’ll know exactly what Bel Auburn mean even if you have no clue what they’re talking about.

One of the really great things about having this blog is receiving emails from bands who like what I do here enough to want me to have a listen to their music and post about it for all of you. I don't get nearly as many of these emails as the popular kids do, but I get enough to keep me busy. And the toughest thing for me is figuring out how to deal with the stuff I don't like. I know how difficult it is to be an up-and-coming band trying to get the word out any way you can. So, because I'm a bleeding heart, I always feel bad when I don't like someone's stuff and know it's not going to make its way here. I think this is one of the reasons I kind of dread going through my emails: I want to like EVERYTHING and I know I can't.

Sorry for the babbling, but I just had to get that off my chest. Now, on to the rest of the show.

Bel Auburn is a five-piece from Ohio (like me! Well, the Ohio part. I'm only one-piece). They say they're influenced by bands like Radiohead, Wilco and U2. They have a new album coming out August 14th called Lullabies in A & C. I think they're pretty good and I think you should give them a listen.

Upon first listen, Bel Auburn steal from requisite Brit-pop influences such as Coldplay (though not as poppy) and Radiohead (not nearly as dense) to come away with a sound that is uniquely theirs. It mostly succeeds in it's teetering-on-electronic-but-still-rock meanderings and has an almost soothing laid back approach to the vocal delivery. All-in-all I'm walking away a fan and someone intrigued further by this not-well-enough-known artist.

While this thing called "work" has hampered my ability to post as much material as I would like over the last few weeks, I have been fortunate enough to listen to a lot of music. Recently, I received a friendly email from a band named "Bel Auburn" out of Ashland, Ohio. I used to drive by Ashland on a daily basis, during a stretch of time (2002) when I commuted from Columbus to Akron (dont ask) for a long...long...painful project. It was a daily ritual to try and tune into the morning show on Ashland's University Radio station. This station introduced to bands, such as "The Sea and Cake" and helped me get ready for my on-slaught in Akron. The fact is that this area, while not a likely breeding ground for good music, is one of many areas of Ohio that has decent music coming out of it, but you would never know it.


Back on Topic....Bel Auburn.

I visited its website,read the Bio, and listened to all of the tracks that were available on the website. I also perused some other blogger reviews of the band. The band still resides in the Ashland-area, which is unusual for bands trying to get its music heard by the masses. However, I appreciate the members' reasoning for such a bold move, which is the simple fact that they really enjoy the pace of life in Ashland and like the idea of having a house with a front porch. I understand the front porch concept, having grown up in a small town myself.

The great thing about this band is the music. The music is fantastic, and just makes you wonder if there is something in the Ashland water that can spark this kind of creativity. The first song that I listened to off of the band website was Metropolitan (Watercolor), and proceeded to listen to all of the website music a few times. I was impressed. From a musical and production standpoint, these songs are very polished and all of the components are very complimenting to one another. I generally critique music, based on its musical content, not the creativity of the lyrics. However, the lyrical tone and delivery from Scott and Mark melts into the pieces and really compliments the songs, while not overpowering them.

I have seen comparisons of Coldplay with Bel Auburn's work, but unlike Coldplay's music, Bel Auburn's music has a genuine feel to it. It doesnt feel like it was made out of a cookie-cutter. The musical composition is very fluid and really feels like a mix of Verve tracks spanning "A Storm in Heaven" and "A Northern Soul." The guitar action between Jared and Scott is very naturally "Nick McCabe-ish", and this a high compliment to any guitarist that prefers to set a mood with their music rather than see how many hammers and pull-offs they can do in 0.18 seconds.

While I really liked all of the songs on the website, songs that really seem to stick out to me are Metrpolitan (Watercolor), Blind Ward, and Burn Unit.

I would suggest checking these guys out sometime in the near future at their website. The band's album "Cathedrals" is available on eMusic. Hopefully, I will be able to see them someday when they make it to the West Coast.

I admit I have a very soft spot for "little" bands--those extremely talented musicians who are working hard but who haven't made it to the big time, maybe don't even have a recording contract. Thank goodness for the Internet, their music is nonetheless available to us. We just have to find them.

Bel Auburn is an exceptional example of one of those bands. If you like Snow Patrol, and Gary Lightbody and the Snow Patrol crew aren't keeping up with your needs, you should listen to these songs. I actually like them better than the most recent Snow Patrol songs.

Bel Auburn are five guys, including two brothers, from mid-Ohio (U.S.A.) who still have day jobs and just like to play together. How did they get this good in only three years? In that time they have released two full-length albums, with this year's Lullabies in A and C a big leap forward from 2004's Cathedrals as far as songcraft and development of an individual sound.

Any song on Lullabies in A and C would have caught my attention, but "Metropolitan (Watercolor)" is the one that's going on the Favorites of 2006 list. If you like the tracks I have posted here, I encourage you to buy this album. It is ALL good, beautiful without a hint of sappiness anywhere. Cathedrals is not quite as consistent, but there are a bunch of good songs there too.

Bel Auburn, mid Ohio indie emotive rock. Their debut album Lullabies in A & C is beautifully crafted, and guess what - completely free. Yes, that is correct, Scott, Mark, Mark, Justin, & Jared have recorded an album; a beautiful album and released it themselves completely free. I would pay for this album, it’s that good. Every song seems carefully crafted with so much passion behind it. Best of all, the group seems to be a set of great guys. With hard work by Jared, he has been getting all the blogs attention to get them out there. They are truly independant.

They say brevity is supposed to be the soul of some damn thing or other, so I’ll be brief. Here’s Bel Auburn in one word: Holyshittheseguysaregood.

That’s one word, right?

My buddy Tim says they’re “too Coldplayish” for his taste, but I’m going to go way the fuck out on a limb and say something that might be sort of dumb, and might be the first-few-listens-afterglow talking, but here goes anyway: Bel Auburn is better than Coldplay.

I know, right? They’re pumping stupid into the air and water out here at Posh Jefito Manor. But still, you’re sort of digging that I took it this far, aren’t you? You’re sort of totally 100% intrigued, yeah?

Good. Go check out Bel Auburn. For some reason, the band is giving away its entire goddamn album for free at the site, so you can go get it and we can rock and be sort of sad together.

This album makes me think of high school, but in a good way. It’s got no shortage of modern gizmo noise and shiny production, but it’s also long on honest-to-God melody and the sort of swoony, soaring vocals that the world needs more of.

Yeah, this is a Cold Shillin’ entry. What of it, punk? The band asked for a review — didn’t mean they were going to get a good one. Quit being such a butthole and go listen already. Shit.

I have to admit, I've been remiss. I guess that's true about so many things, but this one involves music so I correct it here.

Remember way back in February when I wrote perhaps my meanest post ever about the poor, innocent, Mid-Ohio band called Bel Auburn? I had admitted to having a bad day, but I'm still not a fan of their first album, Cathedrals.

Well, back in August I got a lovely email from Jared (who I'm guessing is the same Jared that is described on their web site as the guy "who writes all the lyrics and makes noise with his guitar"). He asked that I please download their new album Lullabies in A&C and give it a listen. I was warned that it, too, is a concept album ("We sincerely can't help it," explained Jared).

That's fair, I can give Bel Auburn another shot. Also, today I am filled with Christmas cheer so my feelings on the album won't be colored by a bad mood. I also just love the thought that Jared thinks I am an important enough blogger to have my opinions valued. Doesn't he know nobody reads this thing, and of the dozen or so who do, half of them are cats? Well, never mind, I guess you guys want a verdict. (And some tuna?)

I declare Lullabies in A&C to be not bad. "Roses" is a lovely song with all the pop sensibility I love so much. The production quality seems to be higher this time and there is an acceptable amount of the electronic pops and twitters that the kids seem to like these days. The songs are full of building crescendos and interesting guitars. The only drawback for me are the lyrics. While there are a couple of good lines scattered here and there, I am a lyrics freak and demand lines a little deeper than "Someday I hope you'll find the time to pick up all the pieces." It's the kind of thing a high school emo kid might write in a letter to his sad, sad girlfriend. I'm sorry, Jared, but it's true.

I am also happy to report that Bel Auburn has a new web page that no longer declares them gods of indie rock. Overall I'm left with a pretty good impression. Lullabies in A&C has managed to keep a place in my ever more crowded iPod. These days that's getting to be quite an accomplishment. You can also go to their website yourself, listen to the album, then tell me how wrong I am. Either way, have a Merry Christmas!