Wednesday 30 Jul

Sobering sounds

Copperheads with Depth & Current, Dudes of America and Oblivious

10 p.m. Saturday


113 N. Crawford Ave., Norman



07/30/2014 | Comments 0

Pony expression

Wild Ponies

8 p.m. Sunday

The Blue Door

2805 N. McKinley Ave.



07/30/2014 | Comments 0

Music Made Me: Josh Hogsett

Few, if any, Oklahoma bands have seen a rise as meteoric as Tallows over the past year, yet its seemingly overnight ascension didn’t happen by chance. The Oklahoma City four-piece is well-versed in the ways of modern pop songwriting, drawing from both glitchy electronica and cathartic indie rock in equal measure. Last year, the band pulled off a rare musical feat with its debut album, Memory Marrow, which was steeped heavily in the breadth of recent history yet managed to sound like nothing else before it.
07/30/2014 | Comments 0

Planting the seed

Chelsey Cope’s new band, Elms, is as earthy and native to Oklahoma as the trees that are their namesake. The soulful folk four-piece’s debut EP, Parallel Lines, was recorded at Bell Labs Recording Studio in Norman and is on its way in September. But the band has already given us a tease, with its first single, “Burn,” going live on SoundCloud on July 14.
07/22/2014 | Comments 0

Commercial rock

Center of the Universe Festival featuring Capital Cities, Young The Giant, AWOLNATION & more
Downtown Tulsa 

07/22/2014 | Comments 0
Home · Articles · Reviews · Folk · U.S. Royalty — Mirrors

U.S. Royalty — Mirrors

Vital folk celebrating the Midwest

Stephen Carradini January 18th, 2011

One of the best love letters I’ve ever heard to the beauty of the Midwest is Rich Mullins’ “Calling Out Your Name” (who, despite being a solidly Christian artist, counts indie mainstay The Mountain Goats among his many fans). Quickly climbing the list is “Equestrian” by U.S. Royalty, off their new album, “Mirrors.”

The harmony-heavy vocals and full-band arrangements of these folky tunes scream Fleet Foxes, America and Crosby, Stills & Nash. But I like U.S. Royalty more than all of those, because their harmonies retain a vitality and directness that cut through kitsch and get to the heart of the feeling. It also helps that they have a propensity to throw down gritty Southern-rock guitar solos on top of their folk tunes.

All those things come together in “Equestrian.” There’s a “whoa-oh-oh” vocal line that will stick with you. Guitars crash in everywhere. Toms rumble. The whole thing has a spacious vibe that calls to mind driving through the Midwest. “I’ve slept in hills of wheat and pine,” John Thornley solemnly intones, and I believe it. Even if he hadn’t said it, the whole song sounds like it. It’s wonderful.

“Vacation Vacation” is another standout example of the best U.S. Royalty elements: the affected/disaffected vocal conflict of Wild Light, the songwriting reverie of Holy Fiction and the warm guitar crunch of Drive-By Truckers. The calmer “Old Flames” completes the trifecta and shows that they’re not ripping anyone off; they’re just saying what they want to say.  

There’s some just-under-the-surface classic-rock love in their folksy amalgam: “Hollywood Hollows” sounds like an American version of the Fab Four’s “Come Together,” complete with similar percussion sounds. “Fool to Love (Like I Do)” nabs a sitar and vocal rhythms of The Who. They mesh these elements in well, but the songs with stronger rock presence and weaker folk presence don’t strike the ear as affectingly as vice versa.

Move over, Fleet Foxes. If you like the folk revival that’s happening, U.S. Royalty is the next thing that’s happening there. They have a lot of room to grow into their sound, but “Mirrors” has some gems on it. —Stephen Carradini

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