![\"heronoblivion_cvr_sq-8c70caf3b93403c488eb9517816dd317e36dbaf5-s300-c85\"](\"http:\/\/i0.wp.com\/kjhk.org\/web\/wp-content\/uploads\/2016\/03\/heronoblivion_cvr_sq-8c70caf3b93403c488eb9517816dd317e36dbaf5-s300-c85.jpg?fit=300%2C300\")
From a first listen, Heron Oblivion’s self titled debut gives a sense of deja-vu in some ways. Not because the album is derivative or because it’s a re-hash of something done before, but instead it captures the essence of late ’60 and ’70s psychedelic rock: an era best remembered for it’s superstars, sexual freedom, and liberal drug use. Listening to Heron Oblivion certainly cause a baby boomer to reminisce over those times.<\/p>\n
The part of the album that contributes most to this vibe is certainly the guitar licks. Noel Von Harmonson and Charlie Saufley alternate wonderfully between two familiar styles: the first a melodic lead that seems seems to want to drift into a solo, but sticks to just being a hook (heard in the opener “Beneath Fields,” which sets the album tone nicely).<\/p>\n
The second is screechy and noisy, but gives the album a needed change of dynamism, as seen in “Oriar.” This guitar work defines the album’s sound and timbre by giving a rush of pleasant nostalgia. That is not to say that the other components don’t contribute well. On the contrary, vocalist and drummer Meg Baird brings a lot to the table as well. Although her vocals are often hushed in the record and hard to decipher, it’s a welcome and vibrant addition to the mix. This is combined with a usually slow song tempo, and sometimes dark songwriting. The result of Heron Oblivion<\/em> is a good one: an album that successfully throws it back to a well-regarded era of music. Recommended Tracks: 1 (Beneath Fields), 2 (Oriar), 7 (Your Hollows) Do Not Play: None Written by Adam Raimond on 03\/28\/16 <\/b><\/p>\n","protected":false},"excerpt":{"rendered":" The California group’s debut is a well done, guitar-heavy throwback to ’70s psychedelia.<\/p>\n","protected":false},"author":11906,"featured_media":43788,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[4,3235,3230,181],"tags":[4199,4732,11,3367,1282],"class_list":["post-43787","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music","category-music-reviews","category-new-music-rotation","category-rock-rotation","tag-adam-raimond","tag-heron-oblivion","tag-new-music-rotation","tag-rock-rotation","tag-sub-pop"],"jetpack_featured_media_url":"https:\/\/kjhk.org\/web\/wp-content\/uploads\/2016\/03\/heronoblivion_cvr_sq-8c70caf3b93403c488eb9517816dd317e36dbaf5-s300-c85.jpg","_links":{"self":[{"href":"https:\/\/kjhk.org\/web\/wp-json\/wp\/v2\/posts\/43787","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/kjhk.org\/web\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kjhk.org\/web\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kjhk.org\/web\/wp-json\/wp\/v2\/users\/11906"}],"replies":[{"embeddable":true,"href":"https:\/\/kjhk.org\/web\/wp-json\/wp\/v2\/comments?post=43787"}],"version-history":[{"count":0,"href":"https:\/\/kjhk.org\/web\/wp-json\/wp\/v2\/posts\/43787\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/kjhk.org\/web\/wp-json\/wp\/v2\/media\/43788"}],"wp:attachment":[{"href":"https:\/\/kjhk.org\/web\/wp-json\/wp\/v2\/media?parent=43787"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kjhk.org\/web\/wp-json\/wp\/v2\/categories?post=43787"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kjhk.org\/web\/wp-json\/wp\/v2\/tags?post=43787"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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\nRecommended If You Like: Six Organs of Admittance, Jefferson Airplane, The Black Angels
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