Patterns sees the band (Goldstein plus drummer Tlacael Esparza) explore a big stylistic range, mining depths that Arms have never been to before. Its triumph lies in how all of these elements are brought together. As the blurb describes, it “lassoes every last one of ARMS’ sprawling stylistic and emotional tendencies and channels them into a handsome, wild-eyed suite of guitar pop. Patterns is a love letter to letting go”.

Opener ‘Laughing Academy’ is jaunty indie pop, complete with a feel-good guitar solo and held together by Goldstein’s signature vocals, while lead single ‘Keep It Light’ sounds like the Arms we know and love amped up a few notches, revealing a band that could write bona fide smash hit pop songs if they were willing to part with the wiry indie rock bedrock of their sound. Luckily for us, they haven’t done that just yet, a fact confirmed by the song’s pounding finale.

‘Stellary’ slows things down a touch, swaying smoothly to and fro as Goldstein’s vocals snake around the central kick drum, hitting the high notes during the chorus in an almost R&B style falsetto. This lull in tempo remains on ‘Goodbye to All That’, Goldstein’s vocals again leading things, smouldering amidst the lush instrumentation.

Things get acoustic on the somewhat paradoxically titled ‘Wall of Sound’, a track that shows that Arms don’t require indie rock bombast to make an effective tune, while the instrumental interlude ‘Red Rover’ sounds like that feeling of watching a sleeping city at night. This dreamy reflection is punctured by ‘All 4s’, where Esparza attacks his drum kit with gusto as the guitars swell and lift around Goldstein’s familiarly off-beat lyricism:

“There’s a restless energy
it lurks behind your eyes
dormant like a gene
it will express itself in time”

Goldstein gets to fully air his croon on ‘Turnstiles’, with its slow thwacking drum beat and reverb of piano, again suggesting the band could achieve stardom if they were willing to swap out the eclectic stylistic range and odd, intriguing lyrics. Luckily for us they have bigger ambitions than radio air-time, enabling them to pursue strange, striking tracks such as ‘Missing’. “I don’t want to force your hand,” Goldstein sings. “The witches disguised as plans will never do / Like the king of death bed regrets / and the queen of last requests could ever choose”. The song pushes forwards with insistent energy, the constant percussion and Goldstein’s free-flowing delivery conjuring meaning out of the most cryptic of sentences, demanding you make sense of the peculiar verses, before culminating in a finale of sparkling noise.

This grand finish is rounded off by the otherworldly ‘Sticks and Stones’, the track feeling like an epilogue with its tidal synths. These electronics flood over Goldstein’s vocals and the background harmonies, ebbing and flowing and pulsing outwards with an almost astral air, growing more strange as the song shimmers toward a close and proving the value of experimentalism and atypical art.

On Patterns, Arms prove they have it all, they can do big and catchy, smooth and heartfelt, raucous and a little bit weird. If you want an album to make you dance and sit still and think, then you’d be hard pressed to find a better example than Patterns. Grab your copy now from the Paper Garden Records online store or the Arms Bandcamp page.

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Patterns is apparently a “love letter to letting go”, using Arms’ trademark blend of sad and emotional sounds with wry observations and clever turns of phrase to create guitar-drive indie pop that fulfils the dual motives of being fun and accessible but also interesting and strange. As the press release describes:

“The songs on Patterns are as keenly aware of their place in the continuum of wry, melancholic songwriters (the Cohens, Merritts, Wainwrights, and Stipes that Goldstein likes to cite) as they are willing to twist those conventions into odd, intriguing new shapes.”

The first single, ‘Keep it Light’, is the perfect example of what makes Arms so great. The instrumentation skips along at a fair tempo as Goldstein’s vocals drawl and drag along behind, the words worming their way into your head between the sparkling guitars and shimmering reverb and Devendorfian drum work. The song gathers in intensity in the latter half, lyrics pressing forward with urgency, as if the subliminal message in your new favourite pop song has grown tired of being so cryptic and decided to make itself heard.

Patterns is due to be released on the 6th May via Paper Garden Records and you can pre-order it now.

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It’s always interesting to see how an artist takes an old song and makes it their own, but this is especially pronounced with Todd Goldstein’s distinctive vocals. There are no attempts at duplication, no songs that have that I’m-having-more-fun-singing-than-you-are-listening karaoke effect, and, most importantly, no outright butchering. Instead we get eight original re-imaginings, interpretations that have obviously been worked on and perfected.

Goldstein says: “Backwards Record is a collection of songs that have made me get all feel-something-y over the years and I hope that my appreciation comes across in this humble mess of internet doodaddery. Enjoy it with my compliments.”

The full tracklist is as follows:

1. “Corporeal” (Broadcast cover)
2. “Ballad of Big Nothing” (Elliott Smith cover)
3. “Goldheart Mountaintop Queen Directory (Guided By Voices cover)
4. “Ana Ng” (They Might Be Giants cover)
5. “Slowdance” (Matthew Dear cover)
6. “Disgust” (Thunder & Lightning cover)
7. “Ooh La La” (The Faces cover)
8. “Foolish Love” (Rufus Wainwright cover)

The LP will be available from the 2nd Sept from Paper Garden Records.

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EP2 is the result of a collaboration between Goldstein and drummer Tlacael Esparza, a collection of five home-recorded indie pop songs that have a breezy swagger and carefree abandon. Goldstein’s signature croon is ever present and Esparza clatters on those drums like there’s no tomorrow. Lead single ‘Comfort’ is a love song about music, or a love song about a girl, or maybe a love song about both. It’s bright and poppy and perfect for the tropical weather the UK is currently enjoying. Listen below:

I’m pleased to say the rest of the EP continues in this fashion. The whole thing clocks in at only 22 minutes, and it turns out to be 22 minutes of pure joy. The record’s closer, ‘Up & Up’, is my current favourite. Opening with a perky guitar line that should whet the appetite of any fans of The Harlem Shakes, it’s a five and a half minute see-saw of dreamy lulls and frantic, dance-able refrains. It succeeds at the winning indie rock formula combining headphone-friendly, thoughtful passages with an energy and dynamism that makes people get on their feet and jump about a lot.

EP2 is out on Paper Garden Records on the 10th of September. Pre-order it on vinyl, CD or digital download here.

P.S. If you are not familiar with ARMS’ previous records, follow the links embedded above and hit play, I think you will like them.

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Pre-order Catacomb Party via their Bandcamp page, merch store or the Paper Garden Records webstore.

<a href=“http://fiercecreatures.bandcamp.com/track/catacomb-party” data-mce-href=“http://fiercecreatures.bandcamp.com/track/catacomb-party”>Catacomb Party by Fierce Creatures</a>

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