Art & Ransom: Press

PERFORMER MAGAZINE
In keeping with the literary rock movement that has come to the forefront thanks to bands like The Decemberists, San Francisco indie rock outfit Art & Ransom’s debut album We Couldn’t Even Believe What We Saw offers English-major indie rockers 11 tracks dedicated to such diverse topics as authoritarian regimes and jaded ravers.

The band has an undeniably orchestral sound brimming with experimental piano and violin. When coupled with their ethereal album art, Art & Ransom deliver exactly what their name might imply — smart, aesthetically pleasing rock in the same vein as British Columbia band The New Pornographers. We Couldn’t Even Believe What We Saw has jazzy, vacillating elements that enable the album to flow together like one continuous, symphonic piece. The vocal styling of singer Matty McBride is reminiscent of Graham Wright of Tokyo Police Club, giving the music more of a rocking edge.

The lyrics throughout the album have a free-verse quality. This element is exemplified in such lines as, “Keep the clouds in the soles of your shoes so you can / Float above the heaven that’s taking all our friends in” and speaks volumes about the depth and creativity of Art & Ransom’s songwriting ingénue.

We Couldn’t Even Believe What We Saw is a breezy debut that is both effortless and orchestral, exposing a fledgling band with limitless potential. (OpenEye Records)

We Couldn’t Even Believe What We Saw, local band Art & Ransom’s debut, opens so many doors for the future. With the musical span of the Arcade Fire, the variety in pace of the Shins, and a violin-infused style of their own, Art & Ransom’s debut is a solid one.
This music has a certain poignancy, and that’s what makes it a good listen. Guitarist Peter Moxley takes a break in most songs, only to be replaced by violinist Clara Brill, whose melodies perfectly complement everything. The violin adds another emotional dimension without being sappy at all. This album is worth listening to only because the music has such a solid support: Drummer John Moxley and (Menlo’s own!) Bassist Ben Joseph really make this album happen. The band’s guitar works so well because of what’s playing in the background: interesting drumbeats and basslines.