Though the “outer layer” of their music could be most closely associated with the folksy “jam” elements of bands like DMB, Mumford, or even O.A.R., a more unique style mixing a harder acoustic-punk, post-hardcore edge in many of the songs off “Classic Breeze” makes it evident that–like many bands often pigeonholed by genres–there’s more to find when you keep peeling. With songs like the acoustic driven “Neptune” evoking Jimmy Eat World’esque or even Taking Back Sunday comparisons, “Directions” could be more closely associated with that of Dave Matthews through not only Hanley’s eloquent horn arrangement but Renerts vocals as well. A tune like “Please Come Home” brings these elements full circle with its catchy chorus “Don’t ask me where I’m going // Don’t ask me where I’ve been” with overdubbed crowd vocals making the true live band experience unmistakeable.
Without further ado, lets review Gnarly Karma’s Classic Breeze!
Hot damn, what a roller coaster of years and genre’s I just hopped on. A truly unexpected surprise that was enjoyable yet a hair much on the upbeat side for an evening job through the remnants of a downpour, but that’s my own fault and lesson learned.
Gnarly Karma is what they go by. The year was 2015, the date, September 29th. That was when these boys dropped their debut full length titled, Classic Breeze. Kicking off with banger “Open Up (Let Yourself Go)”, GK pulls influences of Dave Mathews Band during their run in 96 from great tones, to solid chord progressions and sax weaving within vocal melodies!
Up next, “Please Come Home” which is a track with a bit more vibe than the first that really arches nicely with interesting dips and pulls throughout. In giving this record a few listens, I noticed each tune sounds as though it may have been tracked in a different location or maybe mixed by a different producer for better or worse. The drums are very dry in this compared to some of the other tracks. If I were to criticize this track in any way, I would say I would have wished that the ending build up and tempo ramps were done a hair more finesse.
Up next, “Directions” comes in with some solid vocal characteristics reminiscent of Rob Thomas. Great drum tones on this number however I feel as though drummer, Jarrod Beyer was caught somewhere between straight and swing time which may be the over critical producer side of me speaking, but this could have been cleaned up with a few words while tracking. All together, very solid track!
Holy shit, for a second, when the next track “Been There Before” kicks in, I thought I was listening to Kenny G (which is a good thing in my book), but quickly turns to a Eddy Vedder type tune with great melody, sang with heart and great yet sad lyrical content. This album was doing great in keeping an organic sound, until this track wraps up a harmonica/sax build with a midi violin break. Go comedic fake, or go “real” in my book, no in between, but that’s just me, and who the hell am I?
“Eyes Closed” begins vamping on a Incubus-styled guitar lick which gets accompanied by sax leading into the verse. This track has some great tones and structure to it along with a great deal of depth. I really dig the subtle female harmonies that embrace the lead vocals. I would have chosen a different path with vocal content in that some lyrics come off as a bit too “tongue-and-cheek” for the vibe…did I hear 50 Cent’s “In Da Club” lyrics prior to a heavy guitar taking the stage? Well, who knows, maybe it’s a perfect segue to…
“Young Vibes (ft. Qung Zav)” which is almost a reggae jam with a touch of west coast swagger as Qung Zav spits over the track. Musically interesting and interesting mix which kept my attention throughout. As this record has been crossing genres, I think I might favor something along the lines of this for future records coming from GK, but again, who the fuck am I?
“Neptune”, ok, maybe scratch that last comment regarding “Young Vibes” being my type of direction, because this track gets some great raw punk vibes out of what I thought was going to be a mellow acoustic track, but wait, it was a mellow acoustic track. I see what they did here. Think Mischief Brew circa 2008, ok, maybe my favorite track.
Let’s slow it down a hair with “Shadows”. Very nice chord progression intertwined with great sax performance by Billy Hanley and gracious vocal melodies by Mike Renert. Always a nice touch! Not a fan flanger effects which this tune is loaded with, but hey, like I said, this record took me on a roller coaster ride through genres and times, so there’s no way to win em’ all with everyone! The boys did a great job creating a drone-y extended wall of sound build at the end of the record to wrap up the second to last track of the album, which I might even consider the last track to the record in that all that’s left is he the instrumental “Outro” which is short, pretty and sweet. Can only say nice things about it.
Well, overall, kudos to these gentlemen in Gnarly Karma, I’m very critical when it comes to albums and these guys are talented, solid musicians that are on the right track with their work in Classic Breeze. I look forward to keeping up with them and watching/listening to them progress. I suggest you do the same by supporting and/or hitting their social media below!
Cheers,
Michael Abiuso / SwitchBitch Noise
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Bio: The group consisting of members Mike Renert (Vocals, Guitar, Harmonica), Jarrod Beyer (Drums, Percussion), Ryan McAdam (Bass), and Billy Hanley (Alto & Tenor Saxophone, Keyboard, BGV’s) brings a wide and varied range of influences to the table equating to their unique sound, which is most often associated with that of Dave Matthews Band, Sublime, and Mumford & Sons, but not restricted by genre. Originally starting in 2012 with Renert and Beyer, McAdam and Hanley later came into the mix having gone to school together with Beyer, who’d also performed with McAdam in Alt band “We Love Radio”.
