Pashy, a band consisting of singer Emma Spivack, instrumentalist Jason Cerf, and guitarist Jono Wachter, made their debut last year with their single “The Coast.” As newcomers to the music world, the band has the room to begin spreading their wings and making their place.
https://www.youtube.com/watch?v=1pRQTZqLyx0
They just released their second single, “From Here,” and it reflects similar styles of their other single. “The Coast” features a warm, soothing, cozy vibe with gorgeous feminine harmonies, artistic instrumental arrangements (which includes beautiful strings), and a swaying, beachy rhythm that moves back and forth like gentle waves at sunset. Powerful, punctuating guitar strokes, echoing percussion, and strong rippling vocals gently wrap the listener up in a comforting, homey, romantic sensation. The song has dimension in volume and intensity, contributing to that wave-like movement that sweeps you off your feet.
All the same can be said for “From Here.” With a slightly more blues-y vibe, “From Here” retains that soothing, swaying, warm and homey feeling that makes you want to slow dance with your loved one in the living room. The instrumentation is a little less complex, with just some simple percussion and guitars. It’s evident that the vocals are Pashy’s focus, as the performance of the main singer is powerful in itself, but there’s also many layers of strategically designed harmonies. This time around, “From Here” features male harmonies, always delivered in that light and airy tone, similar to “The Coast.” Style-wise, primarily vocally, Pashy could be likened to artists like Daughter, Fleurie, or Sleeping At Last. They possess that light and airy, moody, atmospheric style, a genre that’s been taking the world by storm and generating more and more fans every year.
This style of music also features very visceral, heartfelt lyrics. There’s a focus on prose rather than creating rhyming poetry. In “From Here,” Pashy seems to be describing moments in everyday life that quietly slip past us, potentially unnoticed because they’re small and typical. But the way that Pashy portrays these moments suddenly make them significant; they mean something, they’re worth watching, and they harken us to observe them closely.
Come watch it all
From here
Here, here
From here.
Little things like “steak knives” and “coastguards that sit by the beaches” and “a book on a shelf” mean something, and they’re worth watching. The emphasis of watching it “from here” indicates that they’re removed from these everyday things, and, therefore, everyday life. There are visual juxtapositions:
Your words burn like evergreen
Through nothing but a memory
Forever, forever
“Evergreen” represents eternity, but “a memory” represents something that has passed away. There’s also the pattern of repeating the words at the end of verses. This literary device is often used in writing to cause the reader to hone in on those words; the writer wants them to notice them for a reason. In a song, the same effect occurs: the listener hones in on those words. They remain with us as the song fades away; we dwell on them, wonder what they mean.
There’s no doubt about it: Pashy is one to watch this coming year. Maybe there’s an album in the works? Who knows, but if so, I certainly am one who can’t wait.
