‘Harking back a couple of decades while sounding as current as anything, it certainly gives enough.’
Intro to Delta Will:
Initially started as a solo project by lead vocalist Charles Tilden in 2012, Toronto based four piece Delta Will bring an equally eclectic selection of musical influences and lyrical inspiration. Comprised of drummer Kevin Correia and multi-instrumentalists Brandon Johns and Milan Schramek, their 2016 debut full release, Weathering,
saw an immensely musical demonstration of the band’s evolution. Now, with a set of three EP releases scheduled for 2018 – the first of which, Multitudes I is out today – the evolution continues and sees their musicality head even higher than before. Read more at: Behind the Music: Interview with Delta Will
Featured Track: Nothing is Enough
With an introduction that sings of psychedelica, Nothing Is Enough (taken from Multitudes I out today), pulls you in right from the start. Swirling around you, effortlessly overlapping guitars combine with soothing background vocals making for a dreamlike start. It’s truly wonderful and with heavily rhythmic drums guiding us toward the opening verse, the inferred freedom within the sound shifts to one where regularity becomes the centre of our attention.
Led by a delicate, yet distinctive funk-infused bass line, the accompaniment transports you from the more floaty atmosphere to a place where we are encouraged to develop a gentle sense of swagger. This change, while early in the track, is one that demonstrates – again early on – the journey of development which Delta Will and most notably Charles’ songwriting has been on. There is indeed a reason for this change: The vocal needs to be heard and backed by a much sparser texture, there is no chance you won’t hear it. Nor are you likely to be distracted away from the beautiful tones and vocal inflections. This isn’t to say that this sparseness remains throughout – far from it – but written and produced in this way, you connect with the lyricism immediately.
Encouraging us to further enjoy ‘Nothing is Enough’, the remainder of this initial verse – and indeed those that follow – sees the distinction between vocal and instrumental elements switching between defined and musically blurred. However, by this I mean in their placement and use, not the musicality itself. Take the way in which the accompaniment begins to transform through a multitude of overlapping, fragment based guitar melodies as just one example. Creating a much fuller, exploratory soundscape-like sound for Charles’ vocal to sit within rather than sit on, the atmopshere harks back a couple of decades, while feeling as current as anything. To say it’s enjoyable would be a gross understatement.
Continuing through the latter parts of the track, the direction of musicality continues very much along the road of subtle development and in a nod to where the true magic within lies, these gentle transitions never shock you, or leap out at you. Instead, through skilfully treading the line between subtlety and interest, you accept every element without question meaning that the emergence of warm vocal harmonies and surprise modulations serve only one purpose: To enhance a beautiful track that continually gives enough.