OK, let’s get the obvious out of the way: Radical Face sounds like the lovechild of Iron & Wine and Elliot Smith--kind of an Iron & Wine & Elliot. This is most pronounced on the first track, “Welcome Home”, which immediately sinks into that slap-hands and guitar grove of pick-your-favorite Iron & Wine track. This is even before the vocals come in, which are overdubbed and silky smooth while somehow remaining raw and authentic, just like Smith. S7 Know How Manager Keygen 2017 - And Reviews 2017 here. “Welcome Home” is not a bad song, it’s even a pretty good one, but such imitation immediately invites the question of whether Radical Face will keep you listening, or just send you searching your hard drive for copies of XO, Either/Or, or if you’re really desperate, the Good Will Hunting soundtrack.

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It’s a fine line between legitimate borrowing, and outright, servile, unflattering-to-the-artist flattery, and Radical Face comes pretty close to crossing it. There are some nice departures. The wispiness of an Iron & Wine song is clearly there in the second track, “Glory”, but the song seems to have a lighter feel than most I&W fare, and when the piano comes in, guitar and melody begin to float. It’s only near the end of the song, where the guitar grows louder and the vocals resort to off-key upper register oo-ing and cooing that the song seems to lose its force and focus, and becomes merely average. “Doorways” is a strange not-quite-a-song song, with a jumpy piano and verses that lead to no chorus. There’s some idea driving this song, but for the life of me, I can’t figure it out.

The song just doesn’t seem to go anywhere, and the less said about it, the better. A little more needs to be said about “A Little Hell”, and its distracting use of bird caws. Be careful listening to this song outdoors, as you may confuse them with actual birds (as I did), leaving you to -- stupidly -- turn off the music, pause and wait and look for the real birds, and then go back to listening to this more or less shapeless track. Mount Blade Game Full. “The Deserter’s Song”, the longest track on the EP, clocking in at almost five minutes, has something of a made-for-a-movie feel to it. It starts with the sound of thunder and rain (what is it with this guy and sound effects?) but then goes into a long story, mostly lost on this listener (at one point somebody’s face seems to be melting, I think, and chaos returns to the trees). The melody isn’t bad, and the groove is pretty good, and at about halfway in, it really hits its stride.