Now It's Overhead

Taking Pulp's more orchestral moments and sewing them to the dark, experimental synth pop of Macha, Now It's Overhead crafts what could be termed "space rock." That is, if the emphasis of the music were placed on utilizing the space within each song to invoke different textures rather than just...

By Tom Murphy

October 26, 2006

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Taking Pulp's more orchestral moments and sewing them to the dark, experimental synth pop of Macha, Now It's Overhead crafts what could be termed "space rock." That is, if the emphasis of the music were placed on utilizing the space within each song to invoke different textures rather than just relying on the guitar treatments. Living up to its lofty title, Now It's Overhead beams faint glimmers of hope through a thick fog of layered guitars and melodramatic dynamics. On its latest effort, Dark Light Day, the band explores a wide range of sound and emotions, and manages to conjure melancholia without becoming a vehicle for introspective moping -- which is impressive, especially considering the company its frontman keeps. Hailing from Athens, Georgia, Now It's Overhead is led by Andy LeMaster, who's also a touring member of Bright Eyes; the group is rounded out by Clay Leverett on drums, multi-instrumentalist Orenda Fink and keyboardist/vocalist Maria Taylor, both of Azure Ray.

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Tom Murphy is a writer, visual artist and musician from Aurora, Colorado. He was a prolific music writer for Westword and a documenter of the Denver music scene.

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