Rogue Wave Albums (3)
'Asleep at Heaven's Gate'
Release Date 9/18/2007
Tracks 12
Label Brushfire
See Album Tracklist and Review
What The Critics Say
Rogue Wave's third album, 2007's Asleep at Heaven's Gate is a highly polished modern rock album that mixes the arena-ready sound of groups like Coldplay with the highly emotional approach of bands like Red House Painters and comes up with a sound that wouldn't be out of place on the soundtrack of any number of primetime network dramas. Where previous albums by the band have been more intimate affairs, the large scope of this album positions it for a possible mainstream break out. ~ Tim Sendra, All Music Guide
'Descended Like Vultures'
Release Date 10/25/2005
Tracks 11
Label Sub Pop
See Album Tracklist and Review
What The Critics Say
Rogue Wave's second album is at its heart no great departure from their first. Like Out of the Shadow, Descended Like Vultures is indie rock through and through. There isn't a moment that doesn't feel influenced, borrowed, or previously released by Death Cab, Elliott Smith, Yo La Tengo, Lou Barlow, and so on. Luckily there also isn't a moment that's not tuneful, exciting, or ingratiating; it's second-hand but runs just like new. Indeed, sweet vocal harmonies, melodies that hook you instantly, and arrangements that envelop you in their gooey goodness are still the backbone of the Rogue Wave sound. And again there is a nice mix of rockers ("10:1," "Publish My Love"), mellow and intimate acoustic ballads ("California," "Temporary"), and moody pop tunes ("Catform," "Are You on My Side"). This time out Zach Rogue is joined by a full band, though it's mainly Pat Spurgeon who plays jack of all by providing able backing on drums, guitars, keys, bass, and autoharp. This reliance on other people doesn't tamper with the winning formula much, though the production does. Unlike the first album, which had a homey, lo-fi energy, this one feels shiny and professional like it was cut by real musicians doing it for real in a real studio. The guitars are thick and layered, the drums upfront and loud, the lead vocals very lush and reverbed. It gives the album's big ballads like the opening "Bird on a Wire" or the ebbing-and-flowing "You" a naturally epic feel that other bands have to try way too hard to achieve. Unfortunately, on the rest of the record it adds an extra layer of studio realness that takes away most of the intimate charm the group had so much of previously. With Descended Like Vultures, Rogue Wave have become just another indie rock band, one that has delivered a strong album without a weak song on it, but a real band just the same. Hopefully, the people who fell in love with the first album will stick with Rogue Wave and see through the shine to the substance, because it is there and the album is good, just in a different way. ~ Tim Sendra, All Music Guide
What The Critics Say
Out of the Shadow by Rogue Wave is one of the better records to completely slip under the radar in 2003. The band is mostly the product of Zach Rogue's low-key brilliance as he writes, sings, and plays everything except for drums and the occasional guitar part. Zach has a great voice with the range to reach some very high and pretty notes. He also has an ear for arrangement and a knack for hooky songwriting. The sound of the record is pitched somewhere between Elephant 6 (without the icky whimsy) and the Northwest gloomcore merchants like Built to Spill or Death Cab for Cutie (without the gloom), with a little bit of classic Baroque folk (Simon & Garfunkel) on the fringes. The songs are split between full-band songs like the charging "Every Moment," the strutting Kinks-flavored "Seasick on Land," or the tough "Endless Shovel" and solo acoustic-based tracks like the bubble-sweet "Be Kind & Remind," the lap steel melancholic "Postage Stamp World," or the very Simon-esque "Man-Revolutionary!." Not a weak link or bit of filler to be found anywhere, either. "Out of the Shadows" is an indie dream come true. A dream like another great Elliott Smith record, or a Sebadoh record that isn't an embarrassment, or a Neutral Milk Hotel record that makes sense. You get the picture. Thanks to Sub Pop for the reissue and for rescuing this gem from the obscurity of microindie wasteland. ~ Tim Sendra, All Music Guide
