It’s Always Today

The Lovely Intangibles

Tomorrow is Forever

Self-Released, 2015

Review by Kent Manthie                                                                                                Lovely Intangibles tomorrow is never cover

Right off the bat I knew what I was getting into. A lush, fab, clear-but-fuzzy album that puts a spell on you. I’m referring to the new album from The Lovely Intangibles, Tomorrow is Forever. This came to me from the same guy who oversees The Lost Patrol, to whom I’m no stranger, having reviewed the past few albums of theirs. In fact, Stephen Masucci, from The Lost Patrol, is also in The Lovely Intangibles.

Anyway, Tomorrow is Forever is a dreamy, space-pop, “shoegaze” (as some call it), blissed-out album. It’s somewhat reminiscent of The Cocteau Twins and a less distorted Curve or My Bloody Valentine.

It opens up with a smooth, lush, green valley of a song: “No Amends”. It’s a shimmering, textured track that distinguishes itself right off the bat.

With the lovely voice of Mary Ognibene on vocals, Stephen Masucci doing multiple-duty on guitars, bass, keyboards and programming; plus Tony Mann on the drums and Michael Williams playing the 12-string acoustic guitar, there’s a lot to love here. “Shoegaze” is one of the more familiar labels given to this sort of stuff: it was Mary’s other-worldly, beautiful vocals which made me think of The Cocteau Twins (I guess there might be a little Elizabeth Fraser in her) first, as well as the sonic beauty that backs her up; but then, there’s a little bit of Cocteau in all of us, though, n’est-ce pas?

With Masucci on board with the L. I.s, there may be some out there who might expect this band to be close to The Lost Patrol, but while there are a couple similarities: one being that both have female lead singers, both have Stephen Masucci playing guitar and both have deep meaning behind poetic, fantastic lyrics, there is some difference: I wouldn’t, for instance, call The Lost Patrol “shoegaze”; I think of LP as more “Romantic”, soulful. Where Mary’s voice is atmospheric and ethereal, Mollie Israel is, well, maybe, a little more “throaty”(?) and, as I just mentioned about Lost Patrol as a whole, Mollie is a little bit more “soulful”, like say, the difference between Grace Slick and Marianne Faithfull (well, I don’t know, maybe that’s not a fair comparison, but it’s what came to my mind first, so I’m going with it).

Some of the songs I ought to mention on Tomorrow is Forever include, besides the opener, “The Dust Settles Down”, a down-to-earth, feathery, glitter-like consistency of colored – matter, then there’s the terrific title track, which puts a blissful feeling in your mid-section.

The whole album is just fabulous, so it’s hard to pick out a song or two that really stand out more than others. I guess, though, the more times one listens to it and the more one familiarizes oneself with it, one’s bound to get into a certain groove in which there may be a particular set of tunes – like, say, songs 4-7 or some such sequence. It’s definitely a mind-bending neopsychedelic journey – trance-missions, GO! -KM.


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