Introducing Miles on End’s latest album, “Under The Neon Motel,” the band’s first release following a reconfiguration of their lineup into a trio. Miles on End traces its origins back to 2017 and proudly represents Hays, Kansas. The album offers a glimpse into the band’s evolved identity and maturing presence in the midwestern music scene.
While the album itself is fresh, the songs contained within it have a longer history, having been a part of the band’s live performances for a considerable duration. Interestingly, the band has chosen to retire all but one song from the album during their live performances, rendering these tracks a nostalgic rarity for anyone who has attended their past shows. With the decision to limit their live repertoire, this album is the sole avenue for listeners to reconnect with these cherished songs, offering a welcome chance to rekindle the associated experiences and memories.
This perspective sheds light on a potential reason behind the album’s apparent lack of energy. It’s plausible that Miles on End’s familiarity and repetition of these tracks during live performances might have led to a certain level of fatigue, resulting in subdued energy on the recorded versions. This raises a compelling question: why opt for a studio album release rather than a live recording, considering the undeniable energy that emanates from their live shows? The decision to release these songs as a studio album suggests an intention to capture a different facet of their musical expression – possibly an exploration of how these tracks can be reshaped and presented in a more controlled environment. However, this choice might also leave fans wondering about the vibrant energy that defines their live performances and the potential for those experiences to be conveyed through a live cut instead.
At first listen, though, a notable pro lies in the evident step-up in production compared to their previous album release, showcasing the band’s dedication to refining their sound. Unfortunately, the album carries a con in the form of the initial half, which falls short of conveying the depth of emotion and feeling that listeners might expect.
However, a notable shift occurs with the arrival of track 5, titled “Seven Days Seven Nights,” where Miles on End embraces a pure jam session that amplifies the energy to new heights. Void of vocals, in true garage groove fashion, the track’s instrumental talent shines and brings about a noticeable change in dynamics, injecting a fresh burst of vitality into the album. Clocking in at just under 3 minutes, “Seven Days Seven Nights” tantalizingly flirts with the potential for expansion, leaving listeners yearning for an extended version that could easily stretch to 6 or 7 minutes.
Continuing the album’s upward trajectory, the subsequent two tracks deliver on the promise of revitalized energy.
Track 6, “Times Only Tellin’,” keeps the album’s liveliness alive and well. The vocals exude renewed emotion, resonating with a refreshed vigor. Notably, the lead singer displays a compelling range of vocal inflections reminiscent of the nuances exhibited by Daniel Johns of Silverchair fame. The infusion of depth and expressiveness in the vocals captivates the listener’s attention, forming a dynamic focal point for the track. Additionally, the background vocals are equally captivating, with inflections reminiscent of Dave Grohl’s distinct style.
Track 7, “Hollow Theater,” strikes a resounding chord as yet another strong hit. A standout feature lies in the remarkable melody embedded within the background vocals, which holds the potential to become a live anthem, inviting crowds to sing along effortlessly.
While the familiarity of the songs will resonate with long time fans, undoubtedly, the album’s first half grapples with a notable absence of energy and might dissuade potential newcomers. Miles On End’s “Under The Neon Motel” reveals its saving grace in the second half, aims to redeem themselves and offers a clearer glimpse into their current artistic identity. The pieces fall into place in this second half, allowing the band’s true essence to shine through. Collectively, this album may serve as a pivotal turning point for the band, a milestone that showcases their resilience and growth while marking their progression towards a more defined musical direction.
As the band embarks on a journey of rediscovering their musical identity in their new configuration, I anticipate that the next year will see them reclaiming their creative spark. With new energy, there’s promising potential for Miles on End to craft new tunes that not only captivate their loyal audience but also draw new listeners.
Under the Neon Motel releases on August 25th on all available streaming platforms, as well as for purchase on their BandCamp page, as well as their live shows.
