Combining memorable hooks, strong melodies and cascading vocal harmonies, the band craft instantly memorable songs. However, the radio friendly nature of the songwriting disguises its underlying complexity. Surprise bridges, unexpected arrangements/time signatures, and well thought out productions all unite to enhance the compositions in an integrated fashion. The ideology behind their sound evolves from an appreciation of the psychedelic movement, forgotten 70s art rock, classic 60s pop, and the ultimate desire to combine elements of all of these with a psychotic injection of punk energy. At shows, people are often up and dancing within a few numbers – thriving off the band’s raw enthusiasm for the music they love.
Recording-wise, The Greening has always sought to combine as many styles as possible in collagist fashion. As can be heard on their first two albums, After Shoal Parlor and The Last Tibetan Midnight, the variety of stylings take the listener across a landscape of music history, landing them squarely in the twilight of music the world is waking up to. The familiar is there to be heard, but in a way that is neither nostalgic nor retro. Singles like “(She’s So) Electric,” “Sunday Afternoon” and “Don’t Have The Time” sparkle with unexpected bridges, crisp, three part vocal harmonies, and jigsaw puzzle arrangements.
With their 2012 release — Eon v. Aeon — imminent, the four piece strives to take their St.-recorded opus worldwide, and to share their post-psychedelic vision with jacked-in technofiles and live audiences alike. Stay tuned for the release of the new singles: “Dualk,” “Leningrad (Slips and Knots),” “Synching Through The Void,” and “Kicking and Screaming.”