Minutes Into Years is an album that presents listeners with an array of thick and memorable indie melodies, as well as a fresh and unique leading voice with which they can quickly familiarise and find comfort in. Who Am I Kidding is the opener, and it’s all of these things and more.
The track has a great energy once it kicks in. There’s a very classic indie feel to the song, and indeed all of these songs. It’s not driven by the sharp edge that indie rock often has, but a more mellow, emotional kind of energy, the sort that isn’t often stumbled upon these days – bands like Ash and Smashing Pumpkins come to mind on occasion. The melody of the hook on this particular track really leaves it’s mark.
As the album progresses there’s a lot to appreciate. The instrumentation varies and grows throughout, the piano features heavily on You’re Not You Lately, and the subject matter of this one suits the backdrop beautifully. Most of us can relate to the lyrics of the song, though it’s not commonly touched upon in such a way – once again, it has that classic indie approach that takes a common situation and expresses it in some new, reflective, yet unpredictable way. The piano part is gorgeous, a simply riff that fills the space between vocal parts with pure grace.
Dear Lover is perhaps the most stylish and vintage sounding track on the project. The opening riff captivates in an instant with it’s nostalgic approach, which successfully joins forces with a refreshing melody and a widely accessible concept. Never Again follows this with a gentle, acoustic introduction, softly leading into a very honest and bare song, loaded with complex feelings and poignant instrumentation. The structure of the track really effectively reflects the feelings expressed, and the artist’s leading voice has a gentle realness to it – it often seems as if these songs are being whispered to you and you alone. There’s a vulnerability to the performance, but a striking confidence to the lyrics, and these two elements work brilliantly together.
The album is consistently warm and welcoming in it’s presentation, though for the most part it’s notably unusual in a number of ways. Grandma’s Minute is a song that imprints it’s melody and it’s chord progression in your mind, and it feels like a familiar song, but when you really listen there is nothing predictable about it. Perhaps the concept of the song and the memories listeners have of their own families drives the way in which it’s received. It’s really great song writing, and it works because it connects, yet it works even better because once it’s connected the originality then starts to shine, and you appreciate it all even more.
Crazy Bridge brings the indie rock energy back for a brilliant opening melody and some warm harmonies that lead towards a massive hook. It’s perhaps one of the most memorable hooks of the project, and the song itself is one you could easily play on repeat without it getting tiresome. The speed at which the lyrics are delivered is compelling, the second half increases the energy of the piece greatly, and the storytelling is sublime – as is the case throughout this collection. The song writer tells an array of truly original and beautiful stories that really open your mind provoke thought. It’s inspiring to listen to.
Dead End Waltz has a bit of a folk-meets-country vibe, still highlighting the creative nature of the artist’s work and the unpredictable stories and lyrics that provide the backbone for it all. Parallel Universe takes things in some other direction entirely after this, the distorted guitar solo steps in and out of the mix throughout as the artist touches on the world of social media and the effect of modern life in general.
Dreams plays a valuable part as the penultimate track of the project, the energy is just right for this moment, as is the honesty and the lasting consideration of the ideas put forth. Then you get to Bad Things, the point at which the honesty, the emotion, and the gentle nature of the artist’s expression all fuse together for this final chance to connect. The song builds up and evolves in a surprisingly big way; the performance increases in intensity, as does the music – the soundscape of the whole thing is vast and striking. The piano part has a haunting ambiance to it, and the words really grab you with each and every line. It’s a great way to end the collection, it’s hugely passionate and appealing and intriguing; the instrumental break early on, and once again towards the end, really deepens the effect, and all in all it’s a genuine and beautifully creative work of art. Definitely the right choice for the final song, it leaves you eager to return to the start and hear the whole thing over again.
Flawlessly appropriate production has really helped bring out the true warmth of these tracks, whilst still maintaining the organic depth that makes it all sound so real and honest. It’s a beautifully unique collection. Listen to and download the album via Bandcamp. Visit Arda & The Stolen Moon’s Website for more information. Find and follow her on Facebook and Soundcloud to stay updated.
