10 Songs, 39 Minutes

EDITORS’ NOTES

Over the years, Incubus lead singer Brandon Boyd has searched for a way to translate the churning melodrama of his band’s sound into a vehicle for his more personal expressions. In tandem with producer Brendan O’Brien, he largely achieves this goal under the moniker Sons of the Sea. The duo’s self-titled debut album is awash with harsh and gentle textures, blended with an ear for sharp hooks and a persistent urge for whimsical gestures. Boyd’s lyrics reveal a fascination with the ambiguities of romantic desire, realized in fractured imagery that’s by turns seductive and sinister. O’Brien’s eclectic combination of snarling guitars, sinewy beats, and distorted keyboards gives the album a wide sonic palette, whether the tracks veer into Prince-ly funk/pop (“Come Together”), jittery semi-acoustic rock (“Space and Time”), or industrial shuttle grooves overlaid with sweet gloss (“Where All the Songs Come From”). Boyd’s shapeshifting vocals take him from the erotic musings of “Jet Black Crow” through the woozy introspection of “Untethered” to the somber confessional balladry of “Avalanche.”

EDITORS’ NOTES

Over the years, Incubus lead singer Brandon Boyd has searched for a way to translate the churning melodrama of his band’s sound into a vehicle for his more personal expressions. In tandem with producer Brendan O’Brien, he largely achieves this goal under the moniker Sons of the Sea. The duo’s self-titled debut album is awash with harsh and gentle textures, blended with an ear for sharp hooks and a persistent urge for whimsical gestures. Boyd’s lyrics reveal a fascination with the ambiguities of romantic desire, realized in fractured imagery that’s by turns seductive and sinister. O’Brien’s eclectic combination of snarling guitars, sinewy beats, and distorted keyboards gives the album a wide sonic palette, whether the tracks veer into Prince-ly funk/pop (“Come Together”), jittery semi-acoustic rock (“Space and Time”), or industrial shuttle grooves overlaid with sweet gloss (“Where All the Songs Come From”). Boyd’s shapeshifting vocals take him from the erotic musings of “Jet Black Crow” through the woozy introspection of “Untethered” to the somber confessional balladry of “Avalanche.”

TITLE TIME

More By Sons of the Sea

You May Also Like