Wavorly Conquering The Fear Of Flight Flicker Records Rock 06-12-2007

SCORE 90%

Simply put, the artful debut from Wavorly is the thinking man’s rock. From the first intricate waltz strains of “Introducing” they have your rapt attention, and the slamming transition into the wall of aggressive guitar riffs underscoring the lyrical urgency of “Madmen” only helps. A creative intelligence shines through immediately in this churning brew of alt/prog/hard/indie rock. The blend is explained by the distinct stylistic influence each member brings to the band, from frontman Dave Stovall (Coldplay’s atmospheric rock), to bassist Matt Lott (hardcore), to guitarist Seth Farmer (metal), to drummer Jaime Hayes (prog), to keyboardist Ryan Coon (Muse). Add these to the crisp production of Rob Graves and the band’s innovative use of bold strings and classical piano, and you have a very compelling debut.

Another influence of interest is author C.S. Lewis, a literary favorite of both writer Stovall and lyricist Lott, who mention “The Great Divorce” as a shaper of several tracks. It is easy to note the Lewis influence in the album’s sprawling epic feel, and the driving guitar-fronted “Endless Day” quotes him directly: “a thin line of emerald green stretched tight as a fiddle-string.” The dramatic dichotomy of “Part One” is illustrated in the song’s movements and vocals, Stovall’s husky tones wringing great emotion here and from the rolling waves of the poignant “Stay With Me.”

“Sleeper” nicely embodies the album’s creative triumph with its glimmering guitars, soaring vocals, and thick guitar accents, highlighting Grave’s thoughtful production in the track’s textured layers and spotless arrangements. The romantic sparkler, “Summer Song,” features floating movements from its acoustic instrumentation, its unexpected softness revealing the band’s versatility. Wavorly succeeds on the atmospheric tracks like the passionate string-laden “How Have We Come This Far,” as well as on the hard-driving  “Twenty Twenty.” The latter takes a bold turn from slamming guitars to a mid-track seque into circus territory, pumping industrial rhythms and classical keys into an odd but dramatic windup. Wavorly does everything on a grand scale, which I like; even when they’re not completely successful, I give ‘em props for the creative attempt.

Absolutely mention-worthy is the airy atmospheric lead single “Praise and Adore (Some Live Without It),” which is not exactly what it sounds like. Structured like a standard praise song, it moves beyond worship into sorrow over those who miss the opportunity due to lack of comprehension or knowledge. The original title “Some Live Without It” might have fit it better, but either way it’s a standout track, thick with sound and passion. Finally, the brief but gorgeous classical composition, “The Defeat,” is the perfect closer to the album, with its deep emotive scope.

Wavorly’s debut borders on the sublime. For the most part intelligently and creatively written, well executed, and worthy of your attention.