Take bits of Anberlin, Incubus, and Kaddisfly, and you’ve got Portland rock outfit, Mosby.From start to finish, their new four-song EP, “Rogue Waves,” is a solid portrayal of modern rock. There is a lot of energy in this EP—far too much for merely four songs—leaving the listener eager for more.
Lead vocalist/guitarist, Travis Williams, is immediately reminiscent of Anberlin’s Stephen Christian—which is a powerful connection because they both have dynamically enthusiastic vocals. Strength of vocalist is key for any local band starting out, it’s the most promising way to determine whether a band has the potential to mold themselves into a force to be reckoned with in a local scene, let alone globally.
Teaming with Williams is Nick Linday on guitar, Dustin Lawrence on bass, and Michael Spitler on drums. This team surprisingly finds ways to seemingly effortlessly intertwine their modest rock assault with impressive alternative rocks riffs, most notably in “Times Like Gold.” This track plays well off of the opening track, “Somewhere Down the Line,” which is a love-child of 311 and lostprophets that sets a comfortable pace for the EP.There is a lot of energy in this EP—far too much for merely four songs—leaving the listener eager for more.
Pacing is the most positive aspect of Rogue Waves—there is no rush from track to track, each song feels like a standalone declaration of the search for truth within life’s journey.
The title track hits at the pivotal third slot, a prominent spot on an EP when bands tend to place their strongest song, which is exactly what Mosby has done. “Rogue Waves” is the song fans will cling to, it’s the song playing during the montage at the end of a Scrubs episode—if it still existed. This track allows the group to show their ability to write a great rock song. It’s not overcomplicated, it’s simply rock—it’s Mosby.
Closure comes in the form of “Just Don’t Know,” which is the most energized track on the EP; making it even more difficult to realize it’s the last track. It feels like there should be more, maybe something more somber, maybe something to make the EP feel more complete. Regardless, the track showcases impressive work by the rhythm section of Spitler and Lawrence.
Mosby shows command of their style by not overusing structures and harmonies—where many other acts find it necessary to repeat a chorus into the ground, which is fine for mindless pop radio, but Mosby shows they are more intent on developing songs that speak for themselves. This is much appreciated.