Localized Marvelle debuts with classical-meets-classic-rock sound

Marvelle, Marvelle
(Self-released)

For those willing to be engulfed in it, Marvelle's self-titled debut is a powerful listen. The tight group brings violin and operatic vocals to the forefront of its heavy sound, evoking a baroque feel that's as influenced by classical music as it is by classic rock.

Violinist John Holm is an impressive talent and provides a range of stringed intensity, weaving between distorted fiddling, blistering lead riffs, and atmospheric harmonies with ease. The band's rhythmic backbone—Derek Winter's bass and drums provided alternately by Brian Herb and Andy Uzendowski—brings an appropriate heaviness to what could potentially be an exercise in an audience's tolerance for electric violin. Onstage, the band performs with live painter and robot enthusiast Linnea Doyle, whose frenetic, colorful canvas work complements the musical imagery (and may fill the gap for Cloud Cult fans disappointed by the band's recent hiatus). Marvelle's best moments involve the melodic dialogue between Holm's high-end and Winter's rumbling undercurrent, like when the initial up-tempo assault of "D&D" descends into a slow dirge. The band is keen on these sorts of structural shifts, often incorporating tempo and time-signature changes that conjure comparisons to prog-rockers King Crimson and Tool. The lyrics borrow equally from Robert Smith and J.R.R. Tolkien, often melancholic and occasionally confounding ("Those fucking birds / Incessant chirping / Get some coffee / Now catch the bus").

Those seeking a feel-good rock experience should probably look elsewhere: The combination of the band's plodding rhythms and melodramatic vocals may be off-putting to some, but those with a taste for the band's unique sound will be rewarded with an album that maneuvers through a menagerie of musical ideas without overstaying its welcome or feeling tired.

Grade: A-
Upcoming show: Dec. 2, History Theatre