the julia dream

The Julia Dream
"Above From Beneath"
W.T.E. Records

I want so very badly to describe this idyllic state of mind after sitting with headphones and listening to “Above From Beneath” for the last 33 minutes. The haunting, post-punk guitar layers mix brilliantly with Vernon P. Love’s commanding, ambient vocals and genuine lyrics. He has a way of relating true feelings through words to anyone listening. Writings like… “I’m fighting parasites that I can’t explain; I’ve got dented wings from absorbing the pain…” are just an example of the songwriting and even seem like key points in a diary which explains the loss of innocence—when you truly see what this glam world is all about. The Julia Dream’s new disc will go in our books as one of the most creative offerings of 2007!

R.I.Y.L.: Love & Rockets, James



- IndependentsOnly.com

The Julia Dream — Above from Beneath
Produced by Matt Spatial
Recorded by Dan Friedman at DB&J Studios in Asheville, NC
Additional drum recording by Joel Mullis at Zone Studios/Atlanta
Mastered by Chris Griffin at Griffin Mastering Atlanta



The Julia Dream's latest release, Above from Beneath, plays perfectly: the lines are crisp and elegant, the mix is vibrant and clean, propelling the power of the band's message. Singer Vernon P. Love prophetically watches from a safe vantage point and warns us about our horrible fate.


Bassist Matt Spatial's production gives prominence to Sacha Alexander's ringing guitar sound, which favors a sense of melancholy, inviting the listener to settle into the introspective, lush atmosphere. Love cynically comments on the "high school romance at the mall," dabbling in the territory of dark-wave alienation. Whereas counterparts such as Interpol or Snowden might favor a minimalist landscape, The Julia Dream leans toward a more loaded vision. The band wants to explain all the confusions of suburban angst, thus accounting for the level of exaggeration in the music.
In "Aliens All Laughing," The Julia Dream crystallizes this view: a leisurely guitar line weaves its way around an insistent drumbeat as Love sings "The skies are open to the looking glass of lies." The lulling guitar line returns to soothe, but the torrent does not stop. In "Lift," Love asks for redemption — "I want to be lifted / I want to be found." "Ultrahigh" features fever-pitch guitars as a chorus of heavenly voices engages the listener in the solemn processional. The Julia Dream enact the funerary moment so well. (Self-released)


www.thejuliadream.com




- Performer Magazine

A superb EP likely to appeal to anybody into classic, melodic post-punk, from Chameleons to The Sound to BFG and beyond, these boys crackle and pout, fret and froth. You're going to like them.

'Lift' shows how well they shimmer through variety, as burly bass pushes glowing guitar into throwing revolving knives towards the startled vocals as the beat toughens behind him. A bracing post-punk sound, with post-modern lyrical affiliations, this has big, crushing wordplay. "I'm fighting parasites that I can't explain. I've got dented wings from absorbing the pain. Our threat level tells me to go underground. I wanna be lifted, I want to be found." The big gurl. The guitar spirals off from this glittering body, from which synth oil leaks and the bass wheels slide, with our singer exposed as a gasping figurehead.

'Transistor' has huge drums and dominant, seedy guitar with some pert post-glam rigidity visible, as more corrupted vocals wiggle in the foreground. Closer to knowing 80's intentions than any feckless 90's wibbling, they give you the blast and the after-shock. 'Aliens All Laughing' is another fine number, and is like a happy version of A Spectre Is Haunting Europe in which we're all mocked by outside forces. A full, fresh sound of harmonised indie floatiness they're full-blooded over nothing logical, but you have to love that. They live the nonsensical dream.

Corruscating guitar decorates the blighted 'Barricade' with its constricted rhythm and mini-chanty outbursts in a highly desirable, energetic display. 'Ultra High' has a keen reach and spry atmosphere. Very radio-friendly masterful vocals, because I think they're aware of the commercial aspect, steer us along but reliable guitar rancour coalesces with gushing pop, managing to be both ludicrously catchy and relentlessly impressive.

'Untitled' is a short and sweet intstrumental, 'Broken Star' has skittering drum echo, ominous bass and accusatory vocals brilliantly positioned, like a poisoned conductor, it grows in power ramming the repetitive thrust home and only the wilting end disappoints, then 'Clean Today' reveals unearthly, twangy guitar and quietly brooding bass, darkly cryptic vocals and insidious guitar flickers. It has a sullen sound, which makes another good change, with a closer, downbeat effect, with bells on.

Not one duff track. Magnificent!

http://www.thejuliadream.com




- Mick Mercer, UK journalist

. - Atlanta Journal-Constitution

. - - Performer Magazine

. - Performer Magazine