Artist: The Heaven Switch
Album: The Heaven Switch
Genre: Pop/rock
Label: CSF Music Group

The Heaven Switch is an unassuming, slight album. Its songs are gentle odes on love and life, very sweet and endearing with no lofty ambitions. Their simplicity is their key selling point; Ryan Calhoun knows what suits him and doesn’t stretch his piano/guitar/bass combo or indeed his vocals much. The same summery, dulcet tones lead every song, meaning it is inconsequential and lacks substance, but for fans of straightforward pop-rock jams it will go down nicely.

It is, also, mostly and keenly upbeat which is lovely to hear. One does tire of every sad-eyed little singer bemoaning the loss of his latest paramour. “Raise a Flag” opens with a vibrant, breezy piano and earnest vocals. It is steadied by a smooth, heavy bass line, creating a nice basic structure that almost seems marred by the entrance of the guitars. The sound is fresh and engaging, with a lightness of touch that speaks very highly of Calhoun. He doesn’t overdress his music and offers affectionate lyrics set to a chaste, yet sparkling, piano. It doesn’t really make you think, but it’s hardly a burden to listen to. “Stolen Car” clings tightly to its bass and thereby sets a beautifully arresting tone. It’s a more vigorous song than the opener and its rousing, catchy chorus makes it a much more effective song. The verses also unfold with pleasing rhythm and the endless stream of cheerful vibes is infectious, especially on further listening.

“Trainwreck” is fairly standard pop-rock fare. It chugs along quite comfortably and manages a firm, resolute sound though it doesn’t really make much of a splash. “Fault Lines” tones down the lively sentiment and turns inward in perspective. The opening guitar refrains are temperate and troubled, backed by a leering synth that seems entirely at odds with the curiously jubilant tone in Calhoun’s voice. The chorus is pastiche pop drivel, but the verse does a fine job of seeming reflective and sombre. It’s a bit more inventive than some of the others, which also wins it plaudits.

“Someday” is minimalistic and soft, sticking with the sad song trajectory. An acoustic guitar adds to the melancholic fray and its heartfelt intimacy makes it a touching, poignant listen. It loses its impact later on and kind of drifts aimlessly into the background, but its opening quality keeps it memorable. “Dam This Flood” is rolling and pensive, but very ordinary. It’s disappointing actually, as its intricacies seem to promise a far more interesting song that what is ultimately delivered. “Surface” is an improvement. There are subtle hints of programming and a limbering piano, creating a far more expansive air. Calhoun excels with this bigger sound, the addition of slightly more abrasive guitars adding force and character to the opening notes. The piano contrasts gracefully with this heavier thud and sharpens the track considerably.

“You Said” opens rhythmically, a faster tempo and intensive focus masking decidedly more acerbic lyrical content. The instruments are lively and carefree, with the ever-present keys evoking a powerful undercurrent of poignancy and nostalgia. This in turn lends the track a depth that’s far more rewarding, hinting at some buried but lingering memory or experience. “Best of Times” seems to shudder with a sudden, horrific awareness. The quirky programming makes it appear one step removed from a club song before the other instruments burst in to invigorate it. It is bitter but hopeful, not hugely memorable but infused with a manipulative rhythm that never quits.

Calhoun has a likeable set of ingredients that work well together, and The Heaven Switch is a very enjoyable debut. His fondness for light piano touches gives his music a freshness and vitality that keeps it alive, and far more animated than if it were a dull, corrosive guitar refrain. He could probably do with taking some vocal liberties on occasion but otherwise, this is pleasant and easy listening.

SCORE: 7/10
Review written by Grace Duffy

• Author
• Recent Posts

James Shotwell

James Shotwell is the founder of Under The Gun Review. He loves writing about music and movies almost as much as he loves his two fat cats. He's also the co-founder of Antique Records and the Marketing Coordinator for Haulix. You should probably follow him on Twitter.

Latest posts by James Shotwell (see all)

• 2015’s Most Underrated Films - December 29, 2015
• Passing The Torch: The End Of An Era For UTG - December 1, 2015
• UTG PREMIERE: Before The Streetlights – “Private Browser” - November 26, 2015