Sounds like the sweetness of sleep itself
Comprised of what feels like a collection of lullabies to grant babies a restful night’s sleep, Peel Dream Magazine provides an oasis for listeners of all ages with four short, sweet songs. In that way, it’s fitting that dreamy chords usher in the beginning of this solemn artist’s EP, because the heavenly-sounding ambiance remains a constant until the end.
Certainly, and clearly from the album’s cover art, this work is minimalist in nature, only eight minutes, making it all the more magnificent, considering the limited time with which anyone who lends their ear is given the chance to extract some sort of meaning out of it.
Nevertheless, it’s hard to question the purpose of a piece of art such as this, but why should that be the question here? Along those same lines, it’s like asking why a baby must sleep, or why an adult feels stressed-out because of the turmoil of their everyday lives. The territory Peel Dream Magazine treads throughout these short tales of creation touches upon all of those questions. And in the process, an invitation to a world laden with wonder and soft daybreaks is delivered to all who stop by and stay awhile.
“You Really Mean It?” starts things off smoothly, however warped its intention. In other words, distortion is established from square one, and it’s as if the song asks one to follow it somewhere, someplace peaceful and free of thought. Psychedelic in its feel, too, simply seeing where the journey takes oneself with this track is wholly warranted. After all, no one knows where sleep will take them, nor the direction of their dreams.
The first song isn’t the sole instrumental found amongst the four foundations of serenity brought forth by Peel Dream Magazine’s imagination, however. The overall vision is transparent, and a pattern seems to be created, in a way, with the instrumentals coming first and last, the songs in the middle.
With that being said, “Mary, Johnny and Me” sounds like a musical eulogy, or, paradoxically, something one might hear at a wedding. In spite of those characteristics, it doesn’t convey a feeling of morbidity, or a feeling of vibrant jubilance. On the contrary, its sweet-sounding quality evokes images of children — perhaps those named in the title — frolicking in a meadow, picking flowers and smiling at one another, transfixed by the mystery of life’s beauty. Again, too, though, it easily comes as something that could calm a child in their cradle.
As for the little amount of lyrics that listeners do get on the songs “Harmony” and “Hell,” an alliteration being formed out of the songs’ titles, solemn rhythm becomes the moneymaker, truly allowing magic to be pocketed, even if it’s for a fleeting period of time.
Starting with “Harmony,” the way Peel Dream Magazine delivers lyrics comes off as lullaby-ish, which, at this point, shouldn’t be a surprise. Moreover, in an odd way, with the buildup and continuous melodious ringing, a grand sound, like the organ at church, gives this one a Christmas-like sound, yet it’s still fun and original. Once more, certain images arise, and this time around, one might picture a parent humming this verse to their child who’s drifting off to the realm of sleep, giving it a cozy and homey vibe.
“Hell,” funnily enough, is a bit eerier than “Harmony.” Peel Dream Magazine sings, “I’m fine in hell / I wear it well,” causing feelings of isolation, a divide between the audience and the artist. Even so, it’s not a negative solitude, as the track’s sound is reminiscent of reggae and causes for more and more images: the warm sun, beaches, palm trees, the sand.
Magic is Pocketed becomes a mystical ride, through its variance of sound and how it can be interpreted. Ambiguity is the shining factor here. Peel Dream Magazine seemingly paints different murals with each song, which are then able to be analyzed in a plethora of ways. If one’s looking for art, they surely need to listen to this EP; there’s the probability that they will be fulfilled.
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