Heave Media

Maintaining Momentum With Olly Oxen Free

An eclectic sound provides a surprisingly solid foundation for Mason Proper.

Mason Proper

Oly Oxen Free

Released on Sep 23, 2008

“Get away from the crowd when you can. Keep yourself to yourself, if only for a few hours daily.” Arthur Brisbane, a newspaper giant in the early 1900s, uttered that little gem. If the man that became a huge player in the Hearst media empire believed in solitude, I suddenly feel a lot better about my homebody tendencies. Lately, I find that most of the music I’m enjoying was recorded by artists in self-imposed exile. Now, I can add Mason Proper to that growing list.

Singer Jonathan Visger shut himself away in Alpena, MI to write material for Olly Oxen Free, the follow-up to There Is A Moth In Your Chest. Once he had a solid catalogue of choices, the band reunited in an empty wooden house to choose songs and record the whole shebang. As one might expect, the group’s choice to disconnect from the world for a while comes through their music, making Olly Oxen Free less grounded than it might be under different circumstances.

Luckily for them, the slightly disconnected sound that they’ve concocted somehow works. Normally, I’m a complete stickler for a tight and cohesive sound. However, I think that I’ve finally realized that sometimes, music that’s endlessly calculated ends up sounding contrived and worse—boring. Given Mason Proper’s embrace of disjointed rhythms, distortion, and pointed lyrics, the last thing that this album could be classified as is boring.

The first track of an album has an unfair burden to bear—not only does it serve to either engage or turn away the listener, is also sets the tone for what you’re about to hear. “Fog” rises to the occasion, and while it’s more low-key than the rest of the songs, its unique ability to embody its title warrants some praise. The minimal instruments used take a back seat to Visger’s voice, which rises up as a clear guide throughout the track. It’s a stunning, ambient track, and only gets better with multiple listens.

Pardon me while I sound like I’m at a sock-hop, but “Shiny” is rockin’. If there were any more eloquent way to describe it, I would go for it, but I just don’t think there is. It’s one of their more abrasive songs on the album, and everything from the simple, relentless drums, to Visger’s sudden turn into a wailer screams “rock star.” Also, I live for repeated lyrics, because then I can pretend to be said rock star, obviously. The lackadaisical “hey…heys” at the end of the track definitely hit the spot.

Playing favorites with band members is never good, but I can’t help it—the two stellar characters on Olly Oxen Free are Jonathan Visger and drummer Garrett Jones. Visger’s ability to transform his voice on almost every track compelled me to listen to the album many times in a vain attempt to characterize it as something or someone. Jones’ drums serve as one of the only grounding points of the album, and even though he’s often pounding out straightforward beats, it provides an excellent contrast to the noise around him.

My only real criticism has to do with “In the Mirror.” It’s trying to be a depressive, and possibly profound song, but unfortunately, it drags. And by drags, I mean you feel like the two minutes will never, ever end. The final nail in its coffin comes from Visger, surprisingly enough. He’s mixed the song so that it sounds like his voice his coming out of an old phonograph. Cool, right? No. 

Barring that one song, solitude agrees with Mason Proper. Whether it was an effort to stave off the dreaded sophomore slump, or just a way to unwind after a busy touring season, their exile gave them some amazing material to come back with. Hopefully, they’ll keep their grab-bag of musical tricks around for their third album.

 

Posted by Alyssa Vincent on Sep 22, 2008 @ 7:00 am

mason proper, oly oxen free