Circus of the West - We'll See Ourselves Out (2017)

OFFICIAL: http://circusofthewest.com/

FACEBOOK: https://www.facebook.com/circusofthewest/

TWITTER: https://twitter.com/cotw_circus

Written by Jay Snyder, posted by blog admin

Minnesota’s Circus of the West peddle a hard to pin down sound that probably has a similar taste and intoxicating effect that the best wagon-sold, ol’ time remedies.  The rousing musicianship and startling genre shifts contained on their debut We’ll See Ourselves Out is a testament to the fact that real rock n’ roll bands still exist in a crowded pack of formula.  Opener “Birdhand” is devoid of formula and certainly the better for it; a wispy 60s organ lick slammed into place by punchy punk percussion, rollicking bass grooves, acoustic/electric guitar shake-ups and composer/front man Edwin Caldie’s elegant lead vocals creating a rocking signature that’s absolutely made for the live-setting (like all good rock music should be). 

It absolutely foretells the fortune and fate of the music to come with the immediately hook-y, pop-inflected vocals melodies, stop/start guitar licks and breathy rhythmic exhales of “Some Connections” coming across as modern rock radio flair with an identity all of its own.  The massive chorus vocal harmonies will fondly conjure images of The Beatles and King’s X even if the music is like pop punk gone country and classic rock.  “Boxes’” twitchy, angular rhythms are led by bassist Jason Kapel’s teeth-gnashing grooves and Joel Leviton’s crunchy electric guitar further defining the bottom while Ben Court provides alternating acoustic/electric lead.  This one’s got some snarl and edge beneath the uplifting push of the vocals and tempo changes.

“Nothing Special” begins with Caldie tapping out a piano melody to match his vibrato-

smoothened, blues-based lead vocals while little bursts of electric guitar and acoustic make for a very atmospheric piece (Kapel’s 2^nd layer of keys only adds more to the audio alchemy).  Edwin’s voice also starts off soft and finally goes for some cathartic tension release with a howling presence that is perfectly harmonized by Kapel.  The hard rock, western gospel fury of “Resurrection” excels thanks to fuzzy, hickory smoked riffs whipping across the busy snare/cymbal crunch and wailing church organs (see the 5:00 minute mark for absolute resolution where a towering riff joins the gospel keys).

A plaintive 6-string lick, pop synthesizers, tranquil drum/bass drones and a relaxed vocal presence make “Valentine Eye” the perfect stop for respite and refreshment after the show-stealing thunder of “Resurrection,” as it provides a gracious mellowness before “Looking In” tears down the asphalt in what can only be described as Joey Ramone’s songwriting threaded into a classic southern rock track.  “Finale’s” neoclassical arrangements and Flamenco-schemed guitars melodies ram into some serious guitar rock, whereas “Asma” is a bass heavy funk rocker that illustrates another 1-2 songwriting switch whenever “More” dig into poignant melodicism.  Closer “Epilogue” is an aching, heartbreak heavy country/blues number that’s only fault is that it is over before it takes off. 

We’ll See Ourselves Out is track for track an outstanding release by Circus of the West.  These cats are going to be one of the top bands to watch out for in the crowd of listeners that enjoy authentic, original rock n’ roll. They are off to a fantastic start and I’m hard pressed to find how they can develop even more for the next disc.