Square Peg Round Hole

One of the many wonders of music is the story it tells, and it doesn’t always require lyrics/singing. A good example of this is ‘Bats’ by Square Peg Round Hole. The band consists of percussionists Evan Chapman, Sean M. Gill, and Carlos Pacheco-Perez from Philadelphia with a contemporary classical/indie rock/electronic style. If there’s one time to trust a stranger (me), now’s the time and go take a listen to them.

With this song being more than 5 minutes long, it takes you on a journey on however you wish to perceive it. There isn’t much you need to do, just sit back, close your eyes, and enjoy. It’s also great music to listen to while working/studying. So if you have your first week of school coming up and are the type of person that needs to listen to music while focusing on work, this is perfect for you.

‘Bats’ isn’t their only song though; you can check out their whole album ‘Corners’ here. I bought the album and I definitely got my moneys worth. And it’s rare to find a good band like them and you can never give them too much support. - A Music Blog, Yea?

(4.2 out of 5) Square Peg Round Hole owes its birth to the Indiana University Jacobs School of Music. There, three percussionists, Evan Chapman, Sean M. Gill, and Carlos Pacheco-Perez, decided to try make music using instruments aside from just the standard guitar and drums. Bells, pipes, bottles, children's toys and more are all at work in Corners, the intriguing debut EP from the Bloomington, Indiana trio.

Enthusiast of the musically unusual will immediately fall in love with Corners, which does not fall easily into any particular genre. Tinkling percussive rhythms suddenly give way to belching synthesizers, like on "Culturalist," or lightly played piano melodies provide additional color for a simple 1-2 drum pattern, like on "Falling Giants." Truncated beats, delicate glass notes giving way to louder percussive blasts…Corners is unusual to say the least.

The easiest, though not entirely telling, comparison is to call the album a blend of Tortoise's TNT and Ratatat's early stuff. The songs do exhibit the quiet but quick jazz tempos of the former, and the beats, at times, sound like they could've been lifted from Ratatat. Sometimes this is all done on the same song. The album is predominantly instrumental, but there is a vocal surprise, like on "Cheyenne." After a few spread out piano triplets, we hear someone singing "I found a garden in my backyard / with flowers full of life and purpose / I wished just for one day that I could be, be just like one of them / I’d be free."

Square Peg Round Hole always sounds clean but they never really play it safe. "Skipping Stones" uses erratic synth beats while industrial activity claps off in the background, and "Starshine" explores Brian Eno spaces of ambient quiet that is both soothing and off-putting. Overall, the debut is a cool blend of contemporary jazz, instrumental hip-hop and electric math rock that vies for your attention with some truly cool musical experiments. Corners is highly recommended. - The Equal Ground

I'm in this off and on and off and on and on and on and on again relationship with post rock. Be it in mopey distorted guitars and then shimmeringly shrill ass guitar solos, or syncopated aboriginal rhythms and ghastly woodwinds and marimbas made of the bones of the damned, I just love rhythmic displays of musicality, and post rock seems to feed me just what I need when I know I need it. Square Peg Round Hole are fucking awesome. They sort of sound like Glorie from Memphis, but with a hell of a lot more clapping and button down shirts bro. Just got their album, but I will admit to listening to this track in the youtube video about a dozen times and FORCING MYSELF NOT TO CLAP AND LOOK EUROPEAN. Didn't work bro, clap clap, clap, clap clap. *pose* - SYFFAL

I will always stand by the notion that drummers are typically the hottest members of a band. So what happens when a band is all percussionists…

Meet Square Peg Round Hole. The band will be releasing their debut album, “Corners” this September. They have the same delicate percussion style that Owl City had when he bursted out in “Fireflies.” But better. The percussion-driven three-piece has created an alternate world for listeners with their creative use of bells, bottles, children’s toys, synths, and of course, the drums. They have a quite ambient sound in songs like “Cheyenne,” reminiscent of bands like HRVRD and Copeland. They also venture out into the whimsical in songs like “Culturalist” and “Skipping Stones,” a la Regina Spektor.

The band takes an extremely minimal take on lyrics, with most songs completely instrumental. That said, when they do use words, it’s breathtaking. “Cheyenne” is a brooding minimalist track with a purposefully monotone vocal and very light instrumentals. It’s dark, yet peaceful.

The whole album will give you chills if you give it a chance. Obviously, not many people will “get it.” The lack of lyrics and twerk-worthy beats may be unsettling. But if you take the time out to listen–really listen–to the record, you’ll be impressed at the way the guys turn regular objects and turn them into complements of their sound.

There’s something truly remarkable about a band that can hold someone’s attention and deliver a message without words. From beginning to end, the band puts on a masterpiece that will transport you to an island of serenity, if you let it.

Again, the band’s unique style may not be your cup of tea, but you should check out “Skipping Stones,” “Cheyenne,” “Falling Giants,” and “Sligo.” - Truth Or Sarah