“1850,” with guest vocalist Heather McIntosh, is a union of different instruments and effects ranging from piano and sax to synths and drums. Like many of the songs on the record, it is intricate yet rife with clean vocals and fascinating lyrics. “Spywatchers,” similar to “Miami Ice,” is lighter in tone and vocals than the other songs on the record. Rodriguez sounds almost sweet next to the guitars, drums, and cymbals. In the end, “Spywatchers,” seems more like a frenetic collection of danceable, 30-second long songs. “Centurion,” a retro-inspired experiment of synths, beat machine and voice box, is enthusiastic in its back and forth relationship between organic vocals and inorganic instruments. “Jantar Mantar,” one of the strongest efforts on the record is a rich combination of harmonies, guitar, hand claps, drum sticks, and piano. The simple, neo-jazz “Crittin’ Down to Baba,” closes the all-too short record with finger snaps, hand claps, and a simple yet addictive bass. With a very catchy chorus, the song invokes the sounds of an enthralling, informal jam session set upon experimentation of instruments and genres.
What makes Miami Ice work so brilliantly, it seems, is Rodriguez and Powell’s need to challenge the imposing genres and structures of what makes music, music. The numerous instruments and genres working together to break away from highly stratified classifications and simply make really good music is a breath of fresh air.
– Britt Julious
Icy Demons: www.icydemons.com
Obey Your Brain: www.obeyyourbrain.com