Victorian musician The Finch Cycle has proven the transformative power of composition on his new album ‘Mt. Pilot’.
The purely instrumental, eight-track project is the brainchild of Bradley Murray, the Victorian-based musician behind The Finch Cycle who formerly played in the band Sunny Disposition.
Now, in his solo work, he delivers atmospheric tracks that draw from post-rock and indie-rock, all of which were recorded in regional cities across his home state.
‘Mt. Pilot’ opens with the fuzzy guitars of ‘Sarah Tone In’, an odyssey of a track that begins as a reverb-heavy heater before transforming into something more melodic.
Alongside subtle trombone courtesy of Brendan Bartlett, The Finch Cycle delivers a pensive sound with the assist of steady percussion and gritty guitar lines.
It’s a testament to The Finch Cyle’s artistry that he can tell a story through instrumentation alone, crafting a tangible feeling through the precision of his production.
This storytelling quality continues on ‘A Transient Response’, which slows down proceedings with waltzing rhythms and twinkly guitar melodies.
That feeling of reflection continues here, but it’s made richer with subtle hi-hats and a more melancholic sensibility. It somehow manages to feel both restful and sombre, showcasing The Finch Cycle’s ability to create cinematic worlds.
He offers a welcome change of pace on ‘Neuro Backpack’, a sunnier affair that’s carried by pop-leaning rhythms and rustic licks. Things get a little grittier on the cathartic chorus, which again features regal trombones and punchy drum beats.
What’s compelling about The Finch Cycle’s work is its versatility. No sooner are you immersed in the summery reveries of ‘Neuro Backpack’ before you’re whisked off again to a new sound, like the indie-rock grooves of ‘An Avalanche of Hope’.
That track, with its upbeat feel and surf-rock flairs, is the perfect accompaniment to a road trip, but it isn’t long before The Finch Cycle is off to new sonic territories.
He offers an almost punkish attitude with the screechy, garage-bound guitars of ‘James Squared’, before heading to folksier recluses on ‘Parents and Friends’.
That glittery track feels a world away from previous entries, yet The Finch Cycle coalesces his sound around a clear ear for the indie rock of the 90s and aughts.
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Elsewhere, on ‘Diesel Hands’, he delivers a more percussive sound with sporadic drum beats, backed by hazy guitars and swelling brass sections.
The Finch Cycle’s efforts culminate on ‘A Ticket For August’, which serves as the album’s purest head-thrasher with noisy instrumentation and a propulsive rhythm.
What all of it amounts to is a deeply textured album, one that emphases cinematic storytelling and could only be achieved by a master of their craft.
Listen to The Finch Cycle’s latest album ‘Mt. Pilot’ below.
