Moon Haven -Weathering the Solitude

Moon Haven

Weathering the Solitude
self-released; 2015

3.3 out of 5

By Matt Jensen

Moon Haven is the combined efforts of Kirito (Michael) Bauman (drums), Elsthon Gomez (lead guitars), Stephen Roy (bass guitars) and Chris McConnell (vocals, rhythm guitars). To my knowledge Weathering The Solitude is the first release from the group. There are three songs on this EP, all of which surpass the six-minute mark and can fit under the umbrella of rock or alternative. It’s obvious the band is still in an embryonic stage due to a number of red flags but there are a number of inspired moments that point to a band with potential. 

The vibe and feel of the record is rather dark and serious. The lyrics and music reflects that on the first song “Distant Sun” which also happens to be the best song on the album. Although Moon Haven isn’t nearly as heavy as a band like Tool you can hear similarities when McConnell sings, “Take my sorrow away from me so I can finally see / The road I walk is not undeterred /   Am I finally free?” The song does a decent job blending piano and guitar but the mix itself could have improved the punch you're supposed to receive when the chorus comes around.

“Tides Of Glass” isn’t too shabby either. I really enjoyed the music on this track. I like McConnell’s voice but he occasionally flubs on tone and delivery. He is right on when he sings, “Treading a glass existence beneath our feet / Like a sculpture left shattering / Nothing owed, nothing received” but shows some kinks in his armor when he sings, “It’s a marvel I still believe.”

They close with “Patterns of the Wind (Ft. Zoë Marie Federoff)” which was the least successful of the three songs. I didn’t think Zoë Marie Federoff’s vocal style was fitting for the song even though she had a decent but at times shrill voice. There is an odd Disney-esque quality when McConnell and Federoff combine voices and sing, “Am I dreaming? Is it possible? My heart is so worn and so blue It’s fleeting.” 

The song then awkwardly goes grandiose while touting metal riffs. From then on out the band tries to ride a wave that is incredibly high and gets into post-rock territory. It’s just too much and for too long. The most pleasant part of the song is the brilliant Paul Simon-esque bass line that didn’t get enough playtime. 

The group goes two for three, which isn’t bad. There is definitely something here but they are going to need to do some tweaking and play into their strengths if they want to compete with the best contemporary musicians. 

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