A.M. Vibe "Capricorno" by Dave H. Cromwell
A.M. Vibe are a three piece based in San Diego, California. Their roots, however, look as much to the UK as to anything
produced on the left coast of the USA. Quite simply put, Capricorno is a flawless collection of 12 songs that flow perfectly from
one to the next.
Opening track, Superstar sets the immediate tone and mood. Against a clean, lean strummed guitar, with bass and drums
immediately locked in to drive the groove along, principal songwriter Lisah Nicholson sings “I saw you walkin’” The song
builds powerfully from soft to rising passion with lyrics that hint at alternate relationships (“wonder if you’ll tell her, all of the
truth, will she ever hear about, me and you”). The bridges are big and bold, with powerful hooks that immediately grab you.
“Come and rest your bones, right by my side,” coos Lisah. “I’ll look after you, I always do”.
The second track Open Road begins with that clean driving single-guitar sound that brings to mind what Sonic Youth used on
their early albums (pre-distortion). Lisah’s vocals are sung here with the cheery/enthusiastic style of Kim Deal on the more
uptempo Breeders (and Pixies) songs. The drums and bass join in and Lisah pleads; “do as you see fit, I don’t really give a
shit, this that those and these, there’s something for everybody’s needs, I’m not understanding all this greed.” Suddenly the
voice is shifted and processed, to give the impression of wind-whispered lips pressed against your ears “But there’s an open
road ahead, go that way again.”
This gives way to an almost bombastic, metal-superstar break – then thunder driving guitar chords and piston pumping tom-
tom fueled drumming. Lisah now sings – “Dis – a - pear -- everything is so unclear (so unclear) “Scream and shout – silence
hears you come out (coming out)!” It ends brilliantly on that sonic and emotional peak!
The somewhat mysteriously titled V begins with two bass guitar notes that alternate with a tambourine hit begin this one, as
dreamy guitar chords glide over top. The hooky melody line is introduced, which consists of an irresistible bended guitar note.
“Hold the wings - of the birds and the bees - from the top of the trees - what do you see love?”, sings Lisah. These alternating
vocal lines are recorded with a unique technique where the vocalist clearly has sung them at different times - - creating a
charming point-counterpoint style giving the impression the vocalist is singing a “duet” with themselves. “Make them
understand, make them understand this please!” Lisah sings with both whimsy and charm. Rubbery, undistorted guitar licks
ride over top of it all, adding solid musical weight to the overall cheery Sunday afternoon feel.
Don’t Wanna Stay has a more “bluesy” feel with lyrics that reveal unresolved struggles. “Pushing on a brick wall, it’s not
moving - no one should ever feel like this.” The rhythm is heavy and forceful, while guitar melody cries out in tortured fashion. “I
ran and I fell, and it’s harder than hell to breathe,” Lisah shouts out. “Swimming up this river, feels like drowning” the
distressed tale continues - sad, yet beautiful in its sonic glory.
As the title would suggest, Lullabye tones down the overall mood, creating a more relaxed groove consisting of alternate
percussion sounds against a classic Velvet Underground two-chord progression. “In masses, we stand alone” is the
catchphrase that resonates as the song continues to swell and build. With the passion and upward movement that brings to
mind The Jesus & Mary Chain’s Some Candy Talking Lisah continues to layer reverberated guitar and backing vocals that lift
the song to its ultimate denouement.
BMF is clearly their big, fuzzed-out rave-up song. The rhythm is just a straight on buzz saw, with slashing cymbals, throbbing
bass guitar notes, and full fuzz pedal rawk guitar creating a wall of sound.
The next track is, in my opinion, the best one on the record. Simple Disaster begins with gentle reverse-looped guitar sounds
that are quickly matched with mystical tom-tom drums and brushes-on-snare percussion. The bass guitar enters moody and
deep. “All alone in this sea,” Lisah whispers “nothing here but you and me” she promises. “Is this your life?”, Lisah asks. “A
thousands days, a million lies,” is the conclusion. Back to that big, beautiful hook. The end out is nothing short of epic.
Black Dogs initially finds Lisah’s voice accompanied by a single acoustic guitar as it begins. A nice sprinkling of organ is
present, as an almost JAMC Stoned and Dethroned era semi-acoustic feel is established. The layering of vocals on the end-
out is nothing short of pure lushness. Sleigh-bells begin to chime and the nod to Phil Spector is complete.
Countdown sounds to my ears, like a direct descendent of the music Billy Corgan made with his one-off band Zwan. No
surprises then, when I discovered A.M Vibe actually did shows with them. Clearly this is a nod and wink to those days. It’s a
beautiful song where the “fool on the hill” lyrical theme is taken and twisted just when you think you might know where it’s
going. This song is actually about how the “suicide solution” is nothing more than “counting backwards”.
Sea Song is a gentle lullaby, where vocals are paired against a lightly strummed guitar and distant reverberation. A clever
vocal reference to the classic Beach Boys song “don’t worry baby” is imbedded into its coda.
The album concludes with the track “Jaded”, which to my ears, appears to be yet-another homage to one of the great bands of
the 1990’s - The Sundays. Breaking from the 4/4 time signature mold, this song features the waltz-like pattern of 3’s. A lovely
and somewhat lengthy instrumental intro that leads to Lisah singing, not so much actual verses, but more of echo-y and
overlaid vocal impressions, or cut-ups of lyrics. Clearly this is more of a stream-of-conscience, improvisational-style
songwriting. “This cannot be real” is uttered. Maybe not the “voices in your head” - but this amazing collection of songs most
certainly is.
A.M. Vibe are a three piece based in San Diego, California. Their roots, however, look as much to the UK as to anything
produced on the left coast of the USA. Quite simply put, Capricorno is a flawless collection of 12 songs that flow perfectly from
one to the next.
Opening track, Superstar sets the immediate tone and mood. Against a clean, lean strummed guitar, with bass and drums
immediately locked in to drive the groove along, principal songwriter Lisah Nicholson sings “I saw you walkin’” The song
builds powerfully from soft to rising passion with lyrics that hint at alternate relationships (“wonder if you’ll tell her, all of the
truth, will she ever hear about, me and you”). The bridges are big and bold, with powerful hooks that immediately grab you.
“Come and rest your bones, right by my side,” coos Lisah. “I’ll look after you, I always do”.
The second track Open Road begins with that clean driving single-guitar sound that brings to mind what Sonic Youth used on
their early albums (pre-distortion). Lisah’s vocals are sung here with the cheery/enthusiastic style of Kim Deal on the more
uptempo Breeders (and Pixies) songs. The drums and bass join in and Lisah pleads; “do as you see fit, I don’t really give a
shit, this that those and these, there’s something for everybody’s needs, I’m not understanding all this greed.” Suddenly the
voice is shifted and processed, to give the impression of wind-whispered lips pressed against your ears “But there’s an open
road ahead, go that way again.”
This gives way to an almost bombastic, metal-superstar break – then thunder driving guitar chords and piston pumping tom-
tom fueled drumming. Lisah now sings – “Dis – a - pear -- everything is so unclear (so unclear) “Scream and shout – silence
hears you come out (coming out)!” It ends brilliantly on that sonic and emotional peak!
The somewhat mysteriously titled V begins with two bass guitar notes that alternate with a tambourine hit begin this one, as
dreamy guitar chords glide over top. The hooky melody line is introduced, which consists of an irresistible bended guitar note.
“Hold the wings - of the birds and the bees - from the top of the trees - what do you see love?”, sings Lisah. These alternating
vocal lines are recorded with a unique technique where the vocalist clearly has sung them at different times - - creating a
charming point-counterpoint style giving the impression the vocalist is singing a “duet” with themselves. “Make them
understand, make them understand this please!” Lisah sings with both whimsy and charm. Rubbery, undistorted guitar licks
ride over top of it all, adding solid musical weight to the overall cheery Sunday afternoon feel.
Don’t Wanna Stay has a more “bluesy” feel with lyrics that reveal unresolved struggles. “Pushing on a brick wall, it’s not
moving - no one should ever feel like this.” The rhythm is heavy and forceful, while guitar melody cries out in tortured fashion. “I
ran and I fell, and it’s harder than hell to breathe,” Lisah shouts out. “Swimming up this river, feels like drowning” the
distressed tale continues - sad, yet beautiful in its sonic glory.
As the title would suggest, Lullabye tones down the overall mood, creating a more relaxed groove consisting of alternate
percussion sounds against a classic Velvet Underground two-chord progression. “In masses, we stand alone” is the
catchphrase that resonates as the song continues to swell and build. With the passion and upward movement that brings to
mind The Jesus & Mary Chain’s Some Candy Talking Lisah continues to layer reverberated guitar and backing vocals that lift
the song to its ultimate denouement.
BMF is clearly their big, fuzzed-out rave-up song. The rhythm is just a straight on buzz saw, with slashing cymbals, throbbing
bass guitar notes, and full fuzz pedal rawk guitar creating a wall of sound.
The next track is, in my opinion, the best one on the record. Simple Disaster begins with gentle reverse-looped guitar sounds
that are quickly matched with mystical tom-tom drums and brushes-on-snare percussion. The bass guitar enters moody and
deep. “All alone in this sea,” Lisah whispers “nothing here but you and me” she promises. “Is this your life?”, Lisah asks. “A
thousands days, a million lies,” is the conclusion. Back to that big, beautiful hook. The end out is nothing short of epic.
Black Dogs initially finds Lisah’s voice accompanied by a single acoustic guitar as it begins. A nice sprinkling of organ is
present, as an almost JAMC Stoned and Dethroned era semi-acoustic feel is established. The layering of vocals on the end-
out is nothing short of pure lushness. Sleigh-bells begin to chime and the nod to Phil Spector is complete.
Countdown sounds to my ears, like a direct descendent of the music Billy Corgan made with his one-off band Zwan. No
surprises then, when I discovered A.M Vibe actually did shows with them. Clearly this is a nod and wink to those days. It’s a
beautiful song where the “fool on the hill” lyrical theme is taken and twisted just when you think you might know where it’s
going. This song is actually about how the “suicide solution” is nothing more than “counting backwards”.
Sea Song is a gentle lullaby, where vocals are paired against a lightly strummed guitar and distant reverberation. A clever
vocal reference to the classic Beach Boys song “don’t worry baby” is imbedded into its coda.
The album concludes with the track “Jaded”, which to my ears, appears to be yet-another homage to one of the great bands of
the 1990’s - The Sundays. Breaking from the 4/4 time signature mold, this song features the waltz-like pattern of 3’s. A lovely
and somewhat lengthy instrumental intro that leads to Lisah singing, not so much actual verses, but more of echo-y and
overlaid vocal impressions, or cut-ups of lyrics. Clearly this is more of a stream-of-conscience, improvisational-style
songwriting. “This cannot be real” is uttered. Maybe not the “voices in your head” - but this amazing collection of songs most
certainly is.
REVIEWS
 | |  | |  | |  | |  | |  | |  | |  |
The Kills - Cheap and Cheerful
Released March 3rd, Domino Records
Cheap and Cheerful finds VV and Hotel showing off a winning Peaches style of dirty electro breaks for the rock crowd that’s
bound to go down well at the kind of Boho Shoreditch clubs where I largely feel uncomfortable. It’s not big and it certainly ain’t
clever, but it does possess a garish, gritty rock n roll charm.
The playground style refrain of ‘you’re boring baby when you’re straight’ and the title itself pretty much sums up what you’re
going to get – a party tune that gets you moving but doesn’t stick around for afters. All good fun, really!
Robert Monk
Released March 3rd, Domino Records
Cheap and Cheerful finds VV and Hotel showing off a winning Peaches style of dirty electro breaks for the rock crowd that’s
bound to go down well at the kind of Boho Shoreditch clubs where I largely feel uncomfortable. It’s not big and it certainly ain’t
clever, but it does possess a garish, gritty rock n roll charm.
The playground style refrain of ‘you’re boring baby when you’re straight’ and the title itself pretty much sums up what you’re
going to get – a party tune that gets you moving but doesn’t stick around for afters. All good fun, really!
Robert Monk
SONS AND DAUGHTERS, 'DARLING'
DOMINO RECORDS
I'm unsure as to why I was so eager to hear this. I think I've got this band terribly confused with another band. A band who I
thought would be amazing.
Anyway to much disappointment, 'Darling' is a real bomb of a song in the sense it drops hard and flat and you're very happy
when it comes to the end. It is a dreadful female-fronted stereotypical shrieky angry vocals weak effort of a song. We don't rate
albums with stars but if we did, then I'd have to put a big black hole down for this one.
Dee Sekar
ANIMAL COLLECTIVE 'PEACEBONE'
DOMINO RECORDS
An almost jungle/electro song which sounds like a semi-decent Hot Chip if they actually had a good vocalist. I like bands that
mix a lot of styles and influences but as we all know, this is very hard to pull off well and effectively. Animal Collective make a
good attempt to mix indie vocals with a quirky, heavy song. I wouldn't have this on repeat for hours but would be happy to play it
in a club perhaps. This song would go down well in the fusion mix clubs of New York and I can see people flocking to the
dancefloor in electro clubs like All You Can Eat in London so there certainly is a big market for this however I'd rather purchase
plump potatoes from a big market rather than shake my booty but that is rather to do with my own inhibitions rather than the
Collective's musical output.
Dee Sekar
DOMINO RECORDS
I'm unsure as to why I was so eager to hear this. I think I've got this band terribly confused with another band. A band who I
thought would be amazing.
Anyway to much disappointment, 'Darling' is a real bomb of a song in the sense it drops hard and flat and you're very happy
when it comes to the end. It is a dreadful female-fronted stereotypical shrieky angry vocals weak effort of a song. We don't rate
albums with stars but if we did, then I'd have to put a big black hole down for this one.
Dee Sekar
ANIMAL COLLECTIVE 'PEACEBONE'
DOMINO RECORDS
An almost jungle/electro song which sounds like a semi-decent Hot Chip if they actually had a good vocalist. I like bands that
mix a lot of styles and influences but as we all know, this is very hard to pull off well and effectively. Animal Collective make a
good attempt to mix indie vocals with a quirky, heavy song. I wouldn't have this on repeat for hours but would be happy to play it
in a club perhaps. This song would go down well in the fusion mix clubs of New York and I can see people flocking to the
dancefloor in electro clubs like All You Can Eat in London so there certainly is a big market for this however I'd rather purchase
plump potatoes from a big market rather than shake my booty but that is rather to do with my own inhibitions rather than the
Collective's musical output.
Dee Sekar
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