Tag: Cathedral Bells

Single Review by William Ruben Helms

Over the past couple of years, I’ve managed to write a bit about JOVM Matthew Messore, who’s an Orlando, FL-born and-based singer/songwriter and multi-instrumentalist. best known as the creative mastermind behind the rapidly rising bedroom recording project Cathedral Bells. Since the release of 2018’s self-titled EP, which received support from David Dean Burkhart and praise from The Line of Best Fit, Messore has released a handful of singles from his highly-anticipated Cathedral Bells full-length debut Velvet Spirit, which is slated for a March 6, 2020 release through Good Eye Records.

The JOVM mainstay begins 2020 with “Disconnected,” the latest single off his forthcoming debut, and much like its predecessors, the new single continues to cement the sound that has won the attention of the blogosphere, including this site: centered around Messore’s ethereal vocals, delicately shimmering and reverb-drenched guitars and a motorik groove, “Disconnected” is a shoegazer-like take on New Wave that recalls early 4AD Records and others but while possessing a swooning urgency.

 

Single Review by William Ruben Helms

Matthew Messore is an Orlando, FL-born and-based singer/songwriter and multi-instrumentalist. best known as the creative mastermind behind the rapidly rising bedroom recording project Cathedral Bells. Now, as you may recall since the release of last year’s breakthrough self-titled EP, an effort which received support from David Dean Burkhart and praise from The Line of Best Fit, Messore has released a handful of singles from his highly-anticipated Cathedral Bells full-length debut, Velvet Spirit, which will be released through Good Eye Records on March 6, 2020.

The album’s third and latest single “Ephemeral” continues a run of material centered around ethereal vocals., shimmering and reverb-drenched guitars, propulsive drum machine, a motorik-like groove and an infectious radio-friendly hook. And while clearly indebted to 4AD Records glorious heyday, The Cure, The Sisters of Mercy, Chain of Flowers and others, the song is a swooning and urgent fever dream.

 

 

 

Single Review by William Ruben Helms

Last year, I wrote about the Orlando, FL-born and-based singer/songwriter and multi-instrumentalist Matthew Messore. And as you amy recall, after spending a period of time traveling across the country, Messore returned to his hometown to work on music with his solo, bedroom recording project Cathedral Bells.

Since the release of last year’s breakthrough self-titled EP, which received support from David Dean Burkhart and praise from the likes of The Line of Best Fit, who likened the project’s sound to “an exploration of the smudged reds of The Cure, hazy pinks of Chromatics and gluey browns of DIIV,” Messore has been busy releasing new material, including his latest single, the gauzy and swooning “Heavy Rain.” Centered around seemingly unending layers of shimmering guitars, propulsive drum machine-driven beats and Messore’s plaintive and ethereal vocals, the track sonically meshes the classic 4AD Records sound with shoegaze in a way that feels warmly familiar yet novel.

“Sometimes, loneliness can feel like it’s raining down on you and there’s such a storm of emotion, you wonder if anyone can understand,” Messore told FAULT Magazine.

 

 

 

 

 

 

Single Review by William Ruben Helms

 

Matthew Messore, is an Orlando, FL-born and-based singer/songwriter and multi-instrumentalist — and as the story goes, after spending a period of time traveling across the country, Messore returned to his hometown to work on music, with his solo, bedroom recording project Cathedral Bells. So far, the project’s material thematically focuses on the disquiet and isolation that comes after leaving your hometown for a while and finding yourself returning to the life you thought you left. Interestingly enough Messore’s latest single is a cover of Teen Beams’ “Cemetery Surf,” that manages to retains the lo-fi, home recorded vibes and ethereal melodies of the original, while pushing the tempo up to an almost dance floor friendly level with an emphasis on jangling guitars — and while being a subtle yet unique take on the original, it reveals the song’s infectious hooks.

 

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