From the ashes of Elevator Art comes Brick Township outfit Bone And Marrow, and when the experimental-rock pairing released its debut LP Patterns at The Saint on May 9, in the midst of their celebratory set the husband-wife duo of Daimon Alexandrus and Jenny Mustaches (Daimon and Jennifer Santa Maria) took time out to recognize each other for the inspiration that allowed this alluring collection to live and breathe.
That moment in time was a culminating public expression of love, but what’s more, it was a revelatory glance at the thematic stitches that hold this record together.
Though no overarching plot was ever suggested, Patterns – an Anthony DeFabritus and AntFARM Studio production (Tony Appleseed, Accidental Seabirds, Moon Motel, Little Big Toe) – appears to be split into separate soundtracks for the ultimate double-feature experience, opening with a Notebook-esque romance tale (minus the pond full of ducks…yeah I saw it) and concluding with a Sci-Fi escapade through land and space.
Alexandrus establishes the scene on “Secret Fire” by using a jazz-flute infused jam to croon of distant flames filling up his lungs, and the ardent sparks and of a potential love too bright and warm to be denied, before the bouncing bass waltz that is “Crooked Lines” hints at a reckless and endangered mind traversing a twisted path…one that’s ultimately aligned when complimented by his counterpart in the final refrain.
That idea of impassioned harmony is cemented in “Eye Contact”, which begins as a slow to burn selection but rapidly transforms into a Talking Heads-inspired blitz, in which the Bone And Marrow frontman proclaims with the fire of David Byrne glistening in his soul “Everything is beautiful…Everything here is beautiful”.
That passionate offering transitions into “We Are Science”, and eases the minds of those lonely-hearted listeners, suggesting that a search for a soul mate is futile, and “Everything will happen, at the perfect time.”
FADE OUT…FADE BACK IN
Bone And Marrow’s aptitude for the earworm groove is a trait that followed the duo from its Elevator Art sessions, and right on cue, “Super Nouns” hits like the opening salvo to a Tarantino special with a torn and teetering surf-rock jangle that accompanies a haunting scene of disembodied voices, a franticly suspicious mind, and likens flimsy speech to the ghosts that haunt your locale. “You know they’re there but there’s nothing to see.”
The electric charm of the duo’s interwoven fret work flows into “Footsteps in the Night” – which intriguingly juxtaposes the notion of home invasion and claiming true love – before the pair presents the riverbank boot stomper “Possession” in all its bluesy, demonic, soul-snatching glory.
From that point, it’s liftoff as Bone And Marrow launches into the cosmos with “Signals”, the crown jewel in this eclectic mix and most textured and enthralling piece of songwriting on Patterns, which once more expounds on the fragility of the spoken word, and just how special non-verbal communication between two people can be.
The record concludes with a bonus track of sorts in “Let ‘em Look”, which wasn’t originally to be included in the collection, but at the suggestion of friends was chosen to close out the physical release. The track is another example of the duo’s prowess for the pop-rock blazer, and proves to be the perfect outro to one of the year’s best releases (at both the local and national level).
Stream and purchase Patterns below and stay tuned for more on Bone And Marrow, who are already prepping to enter AntFARM Studio to cut its second album.