Today Was Yesterday – Today Was Yesterday
The self-titled debut from Today Was Yesterday, formed around multi-instrumentalists Angelo Barbera (vocals, primary songwriter, bass, guitar, piano, programming) and Ty Dennis (drums, percussion, programming), highlights and showcases the rock duo’s musical mission statement to "create timeless music that transcends genres and generations."
That the pair honed their chops through 25 years of crossing paths and playing together as sidemen (The Motels featuring Martha Davis, The Doors of the 21st Century), and can call upon luminary guitarists Alex Lifeson, Robby Krieger, and top session keyboardist & solo artist Ed Roth to guest on their debut, tells you they are very serious about that statement.
'Grace,' the first of six songs to feature Alex Lifeson, comes across like a grungy piece of prog-rock with an insistent Lifeson riff and some big keyboard pads underneath.
The song’s undercurrent is Fear of a Blank Planet era Porcupine Tree interspersed with some Beatles psychedelia, but also thrown into the mix are some Pino Palladino type fretless bass lines, a splash of Physical Graffiti era Zeppelin and a middle 8 section featuring an acoustic guitar figure followed by some heavily delayed vocals.
It all makes for a strong and purposeful opener, musically and lyrically (the song is about the American fentanyl (a pharmaceutical drug and synthetic opioid) crisis.
'A Louder Silence' is a rhythmic slice of dark art-rock that, like 'Grace' before it, carries that unsettling dystopic feeling much used by Steven Wilson (the perfect backdrop for a lyric that decries the opinion narratives over facts malaise that permeates everything from politics to social media).
Musically, there are also nods to Japan (complete with a Mick Karn-esque use of harmonics) and a trademark/ 90s era Rush solo from Alex Lifeson.
That the pair honed their chops through 25 years of crossing paths and playing together as sidemen (The Motels featuring Martha Davis, The Doors of the 21st Century), and can call upon luminary guitarists Alex Lifeson, Robby Krieger, and top session keyboardist & solo artist Ed Roth to guest on their debut, tells you they are very serious about that statement.
'Grace,' the first of six songs to feature Alex Lifeson, comes across like a grungy piece of prog-rock with an insistent Lifeson riff and some big keyboard pads underneath.
The song’s undercurrent is Fear of a Blank Planet era Porcupine Tree interspersed with some Beatles psychedelia, but also thrown into the mix are some Pino Palladino type fretless bass lines, a splash of Physical Graffiti era Zeppelin and a middle 8 section featuring an acoustic guitar figure followed by some heavily delayed vocals.
It all makes for a strong and purposeful opener, musically and lyrically (the song is about the American fentanyl (a pharmaceutical drug and synthetic opioid) crisis.
'A Louder Silence' is a rhythmic slice of dark art-rock that, like 'Grace' before it, carries that unsettling dystopic feeling much used by Steven Wilson (the perfect backdrop for a lyric that decries the opinion narratives over facts malaise that permeates everything from politics to social media).
Musically, there are also nods to Japan (complete with a Mick Karn-esque use of harmonics) and a trademark/ 90s era Rush solo from Alex Lifeson.
'On My Own' is less intense, but no less rhythmic, courtesy of an inventive drum part from Ty Dennis.
Alex Lifeson’s input is less apparent here (apart from a short solo toward song’s end), but effective keyboards make for another very strong song that builds on what has come before.
'I Take All,' which flirts with funk, wouldn’t be out of place on a Peter Gabriel album (indeed Angelo Barbera’s vocals here are very Gabriel-esque in phrasing and delivery).
With a memorable chorus, another strong showing from the rhythm section and Ed Roth guesting with his trademark vintage keyboards sound (including an effective use of clavinet), I Take All maintains the high standard set by the preceding tracks.
'My Dog Is My God' sees the return of Alex Lifeson and a continuation of the Gabriel/ funk influence, including a Tony Levin type bass line from Angelo Barbera.
That the breakdown is reminiscent of very early Genesis further cements the song’s lineage, while Lifeson contributes another trademark solo, complete with delay and pinch harmonics.
The downtempo 'Faceless Faraway Song,' again featuring Lifeson, follows a similar template/ influence as the two preceding numbers (complete with Levin-esque bass part) but here in a slower, moodier, guise, with a side order of the Beatles.
There is some very clever songwriting at work here and a gorgeous chord structure during the verse and pre-chorus. This is genuinely impressive stuff, and a true highlight.
'If I Fall (Silly Games),' featuring Robby Krieger, is a beautifully delivered, laid-back number featuring slide guitar, fretless bass, and more inventive drumming from Ty Dennis.
Tasteful keyboards and dreamy slide guitar from Krieger also play their part, while the song’s other-worldly feel conjures up elements of Thomas Dolby, partly due to Angelo Barbera’s vocal delivery (which sounds, in places, like a young Elvis Costello).
Yet another album highlight, one that’s a masterclass of dynamics and restraint.
'Rukus' returns to Porcupine Tree territory, complete with burbling bass and dissonance (the song also includes some very clever ideas, including eastern influences) while penultimate number 'Borrowed' manages to find success from an unexpected marriage of styles – there are hints of Peter Gabriel once again, but this time confidently and creatively spliced with Tears For Fears (a feat in itself).
The Borrowed results are another strong slice of rhythmic and adventurous art-rock/ prog.
'My New Low' musically assures that the album closes as strongly as it opened.
A tasteful, downtempo number played over an initially programmed drum pattern, the song is lifted when the drum part kicks in. The song then ebbs and flows with more mastery of dynamics, ably assisted by expert bass parts from Angelo Barbera and an under-stated repeating guitar figure.
Alex Lifeson then contributes a lovely solo (with Gilmour-esque undertones) toward song’s end before a simple but effective piano part draws proceedings to a close.
This is a seriously impressive album that should appeal to fans of all the influences already cited, along with fans of NIN, more abstract Steely Dan and, perhaps naturally, Rush.
Serious thought has also been put into the production (which is exemplary) and the lyrics (which range from real life to the more metaphorical), including their delivery (Angelo Barbera’s emphasis and phrasing are as important as the lyrics themselves).
Today Was Yesterday – a modern thinking band and a modern sounding album that’s part modern art-rock, part sonic sculpture.
Nelson McFarlane & Ross Muir
FabricationsHQ
Alex Lifeson’s input is less apparent here (apart from a short solo toward song’s end), but effective keyboards make for another very strong song that builds on what has come before.
'I Take All,' which flirts with funk, wouldn’t be out of place on a Peter Gabriel album (indeed Angelo Barbera’s vocals here are very Gabriel-esque in phrasing and delivery).
With a memorable chorus, another strong showing from the rhythm section and Ed Roth guesting with his trademark vintage keyboards sound (including an effective use of clavinet), I Take All maintains the high standard set by the preceding tracks.
'My Dog Is My God' sees the return of Alex Lifeson and a continuation of the Gabriel/ funk influence, including a Tony Levin type bass line from Angelo Barbera.
That the breakdown is reminiscent of very early Genesis further cements the song’s lineage, while Lifeson contributes another trademark solo, complete with delay and pinch harmonics.
The downtempo 'Faceless Faraway Song,' again featuring Lifeson, follows a similar template/ influence as the two preceding numbers (complete with Levin-esque bass part) but here in a slower, moodier, guise, with a side order of the Beatles.
There is some very clever songwriting at work here and a gorgeous chord structure during the verse and pre-chorus. This is genuinely impressive stuff, and a true highlight.
'If I Fall (Silly Games),' featuring Robby Krieger, is a beautifully delivered, laid-back number featuring slide guitar, fretless bass, and more inventive drumming from Ty Dennis.
Tasteful keyboards and dreamy slide guitar from Krieger also play their part, while the song’s other-worldly feel conjures up elements of Thomas Dolby, partly due to Angelo Barbera’s vocal delivery (which sounds, in places, like a young Elvis Costello).
Yet another album highlight, one that’s a masterclass of dynamics and restraint.
'Rukus' returns to Porcupine Tree territory, complete with burbling bass and dissonance (the song also includes some very clever ideas, including eastern influences) while penultimate number 'Borrowed' manages to find success from an unexpected marriage of styles – there are hints of Peter Gabriel once again, but this time confidently and creatively spliced with Tears For Fears (a feat in itself).
The Borrowed results are another strong slice of rhythmic and adventurous art-rock/ prog.
'My New Low' musically assures that the album closes as strongly as it opened.
A tasteful, downtempo number played over an initially programmed drum pattern, the song is lifted when the drum part kicks in. The song then ebbs and flows with more mastery of dynamics, ably assisted by expert bass parts from Angelo Barbera and an under-stated repeating guitar figure.
Alex Lifeson then contributes a lovely solo (with Gilmour-esque undertones) toward song’s end before a simple but effective piano part draws proceedings to a close.
This is a seriously impressive album that should appeal to fans of all the influences already cited, along with fans of NIN, more abstract Steely Dan and, perhaps naturally, Rush.
Serious thought has also been put into the production (which is exemplary) and the lyrics (which range from real life to the more metaphorical), including their delivery (Angelo Barbera’s emphasis and phrasing are as important as the lyrics themselves).
Today Was Yesterday – a modern thinking band and a modern sounding album that’s part modern art-rock, part sonic sculpture.
Nelson McFarlane & Ross Muir
FabricationsHQ