Bay Area locals, Guy Fox, deliver a feel good album, Night Owl, that could possibly sum up the direction of this past summer’s sound, alongside with a good look into the future of new music, as the seasons change. Indie-rockers – Peter Granquist (vocals, drums, percussion), Nate Witherbee (vocals, synthesizer, guitar, piano), Greg Waters (guitar, saxophones, synthesizer) and Charlie Moore (vocals, bass, synthesizer, organ) experiment with synths, sweet melodies, and a distinct tone which contains the ability to immortalize feelings flawlessly.
Night Owl offers different moods and feelings throughout the album, orchestrated by playing with a simple recipe of sounds, presented in a new light each time, such as the first two tracks. “Antique Furniture” sets the tone and has the right amount of horns, and funky attitude, which becomes softened, thanks to a persistent synth. One of the greatest intros on the album would be for the track, “Mind’s Eyes.” This track instantly lifts your mood, and gets you moving with a catchy guitar riff, and a solid bass line that gives the song support. Based on the guitar riff, the ideal direction of the song would be of a higher, and lighter tempo, which throws one off by the time the vocals come to play, but change the direction down a calming melodious path; something I wouldn’t change.
Moving towards a softer, indie track, would be the friendly track, “San Francisco” – which could definitely be seen as a single. It is the epitome of a “cute love” song that doesn’t overkill it with nauseating wording. It possesses an ear-pleasing chorus that is hard to not fall in love with, as references of “The Mission” district in SF as a place to go, accompanied by spanish lyrics sprinkled throughout the chorus. An equally cute song would also be “Home,” with vocals that add a quirky punch leading to the chorus.
“The City Line,” showcases, yet again, a different approach and sound. Once again, another track that has amazing bass lines, and an old vibe built into the foundation, similar to the mellow psychedelic movement in the 70s. The horns are the icing on that track, and this track does such a great job of balancing modern and retro melodies. The next track, “Crazy Love, vol. II,” is simply structured, which highlights the lyrics. This song gets right to the point, and changes into a dark outro into the next track, “Don’t You Think It’s Cool,” which smoothly transitions and changes the tone quickly. “I Don’t Know,” is another great track which immediately picks up the tempo and has great changes within the tracks; posses more of the band’s funk, and catchy song-writing skills.
Focusing more on a synth-based foundation, “Night Owl” acts as a border within the album, and strays away from the typical indie-outfit. Songs like “Night Owl,” and “There’s a Reason,” stand-out for different reasons, but continue to showcase another side of the band’s ability. A wide range of feelings, tones, and sounds, that aren’t all over the place, but right where they should be; in your ears.