Chris Topher is Melbourne-based experimental indie rock artist (to be honest it’s hard to pinpoint what genre Topher fits into) who just released his third EP, Introspective. Topher has had a busy year, releasing his first and second EPs, Hearing Colours and Abstract Thoughts respectively. The release of Introspective coincidences with Topher’s birthday, so happy birthday Chris (hope it doesn’t suck)! Enjoy.
You can download all of Chris’ albums for free at his bandcamp.
Chris Topher, Christopher… Wait a second…
There’s something about this album that makes me feel good. Actually, there’s a lot about this album that makes me feel good. From the opening piano riff on “Greenwich Village (Intro),” to the humming reverse guitar on the closer, the little details stand out as heartwarming. The songs aren’t bogged down with layers upon layers of exaggerated instruments, as is the case with some purely instrumental albums. Introspective is very detailed, but the sounds favor quality to quantity. This allows the listener to examine and dissect each piece, which is where Introspective pulls you in.
The piano melodies are without a doubt my favorite part of Introspective. The deep piano in “Iceland,” paired with synthesized strings creates a haunting portrait. Although I’ve never been to Iceland, I imagine the atmosphere fits the eerie landscape Bjork calls home. “Greenwich Village (Intro)” and the intro to “Golden Ratio” are two other spots on Introspective where the piano is sticks out.
However, Topher doesn’t rely solely on piano to carry Introspective. Drums, strings, and bass all shine at times on the EP, helping keep it fresh. Some tracks utilizes vocal samples, a decision that helps transition from one song into the next, and breaks up the absolute instrumentation that would otherwise be this EP. Boredom isn’t a problem here. There’s always something interesting to keep the listener engaged. The symbols on “Greenwich Village (Intro)” are so jazzy, they take me dim lit 1920’s underground bar. The rhythm again hits me on “Surrealist Eyes,” as Topher switches from drum machine to kit effortlessly. This, along with the Mike Wallace sample, makes “Surrealist Eyes” one of Introspective’s best.
“The Day Before Tomorrow” is another highlight, the most extravagant on the album. Like “Iceland,” it’s another song that builds an environment. The reversed sounds fly by like the Aurora Borealis on a desolate glacial landscape. Being that Topher is a Florida native, I can only assume these sounds are coming from a feeling within, rather than from his surroundings. It becomes even more obvious when you take into consideration the feeling these sounds give you, the self-reflection of the songs, and the name of EP.
Okay, enough spiritual talk, back to the music. I have a bone to pick with Introspective: the guitar melodies aren’t as strong as I would have hoped. It could be that Topher isn’t as comfortable on guitar as other instruments, but the good majority of the guitar parts aren’t nearly as impressive as the rest of the instrumentation. On “Surrealist Eyes” it doesn’t ruin the song, but I don’t think guitar adds anything to the piece. “Golden Ratio” is another place where the guitar pull down the song. The piano is interesting; I love strings in the break of the song, but the guitar is just okay. Luckily, the EP doesn’t end there. It is followed by “Sheep in Fog,” my favorite on Introspective. So, I can forgive. The best guitar melody is on “Carnival of Light,” but it’s my least favorite song of the whole project. The first guitar part you hear is pretty interesting, but as another layer comes in, the first is drowned out. With a title like “Carnival of Light” I expect something far vaster, more exciting. Adding piano melody would have made the song much more expansive.
Altogether, I love Introspective. The way the each song flows into the next is beautiful, as if the EP was recorded in one session. On “Greenwich Village (Intro),” the listener hears Topher footsteps as he walks on stage and starts playing. Other raw elements, like his coughs or his instrument’s feedback, add to the personal feel. Topher allows us into his home, his mind. Finally, on “Sheep in Fog,” he sends you on a walk through an empty city, over Introspective‘s most beautiful sounds. Then, he walks away.