Voice in the Attic | After Songdown

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Rock: Acoustic Folk: Singer/Songwriter Moods: Type: Acoustic
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After Songdown

by Voice in the Attic

"If you were to only buy one recording this year, this should, hands down, be it. Simply brilliant!" (VideoMusicStars)
Genre: Rock: Acoustic
Release Date: 

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  Song Share Time Download
1. Day
4:19 $0.99
2. Glass
2:29 $0.99
3. On (Slo Mo Mix)
4:29 $0.99
4. Reminisce
2:16 $0.99
5. Ablaze (Jazz My Azz Mix)
4:22 $0.99
6. Tear (Watershed Mix)
2:27 $0.99
7. Iridescent
2:40 $0.99
8. Over
3:39 $0.99
9. Rhinoceri
3:41 $0.99
10. Tribute
3:51 $0.99
11. Toil
3:04 $0.99
12. Fall
2:51 $0.99
13. Songdown
3:30 $0.99
Downloads are available as MP3-320 files.


Album Notes
Commended Entry Award & Semi-Finalist (UK Songwriting Contest)
Finalist (Australian Songwriters Association Music Awards)

"VOICE IN THE ATTIC's 'After Songdown' sits with the best of the 60s and 70s folk greats...At times reminiscent of Nick Drake's tenderness, 'After Songdown' is an absolute triumph." Beach Sloth

"This is truly a terrific record. From beginning to end, VOICE IN THE ATTIC proves itself a versatile act with a variety of absolutely breathtaking sounds...A masterful piece, even one of the very best in the scene this year." Brett Stewart

"A highly accomplished and eclectic album both musically and lyrically. It's the work of a genuine artist that will reveal its depths upon repeated listening, such is the level of detail and sophistication. A highly recommended listen." Alex Faulkner

"'After Songdown' is the definition of sonic mastery. Most important, it is a musical experience that is compelling, moving, and nutritious. Popular music simply does not get better than this." Tuneloud

"I am not sure a more authentic, organic, neo folk-rock recording has been produced in recent times. Embedded with the ethos of the 60s, extracts from all the elements that made the 70s so magical, and without being nostalgic, this body of work suceeds by the very nature of its understated fusion of yesterday and today." Jeena Johnson

Everything on After Songdown is handmade and as live as it gets with studio productions, celebrating the little imperfections, the tiny wrinkles and freckles that make us who we are and the world a place worth living in. An acoustic guitar and a vintage piano manufactured at the turn of the twentieth century form the backbone of the music. Together with violins, a viola, a cello, an upright bass, drums, percussion instruments (cajón, marimba, shakers & tambourines) and two charismatic vocalists they create the album's unique sound. With the spirit of innovation and experimentation that was the hallmark of popular music in the 1960s and 70s, After Songdown blends self-reflective folk with energetic indie rock, vibrant jazz, and soothing classical music. Mastered by the great Bernie Grundman, this recording brings the best of the analog domain to your ears. Welcome aboard, the journey begins when you are ready.

"A masterpiece which needs to be heard." Soundlooks



to write a review

Brett Stewart, The Independent Spotlight

A Masterful Piece
In this edition of the Independent Spotlight, we're going to be delving into a rather unique and fascinating artist. His name is BC Bogey, but his stage moniker is Voice in the Attic. He's been an incredibly active independent artists for the better part of the last four years, releasing a whole slew of EPs and singles. 'After Songdown,' however, is officially his sophomore full-length studio endeavor, one that digs into the realm of coherent album creation and long-form creative direction. Let's dig right into it.
There are two things I'd like to mention right off the bat. When Bogey approached me with his record, he prefaced that while it is not a concept record, it is an album that he attempted to create as a whole, rather that segmenting parts off that would be good for radio play or as singles. This is an admirable effort, perhaps one that’s slowly becoming archaic, at least, in the mainstream. I massively respect this approach, and in honesty, prefer an artist that takes the cohesiveness of a full album seriously. Second, he's doing much better than perhaps he even anticipated--the single won an award in the UK and he's on track for an Australian award and inclusion in a feature film.
When digging into 'Songdown,' I listened to the record all the way through thrice without interruption. This allowed me to hone into its quality as a full experience, because again, that's the point of it. Bogey's sound as Voice in the Attic is immediately likable and sharply produced. The opening track, 'Day,' exhibits him as a masterful crooner with a distinct voice. More so, I love the intricacy of the production right out of the gate. The sporadic piano noodling, the tight percussion, and the sly string sections all manifest into a remarkable experience. There's an edge to it, and thus, if I was to classify it, I'd say Bogey is meandering somewhere between the singer-songwriter, folk, and alternative rock genres.
'Glass,' the instrumental included on the aforementioned feature film, is one of the defiant highlights of 'Songdown.' This elegant track truly exhibits Bogey's prowess not just as a songwriter, but as a composer. I'd argue the piece is tinged endlessly with classical influence, and it is a rather contemporary classical piece in an introspective minor key. The song boils down to two main pieces--the piano which leads the dance and the string sections that are in pursuit.
Bogey has been providing the media with WAV files, which was both immensely appreciated and deeply important to these pieces. In laymen terms, WAV files are much, much higher quality than MP3 is, by a huge margin. These uncompressed goliaths clock the album in at over 400 megs. Thus, your listening experience on MP3's may be of slightly less grandier than mine. Mine is, though, grand. As readers of the Spotlight know, I don't just queue up my reviews on Apple earbuds in a coffee shop. No, I go into the studio and listen on industry monitors. Man, Voice in the Attic's music is a treat in that setting. The folksy 'On' is a superb example of that, especially the harmonies toward the end. Breathtaking.
'Reminisce' draws ties to 'Glass' as a piano/string instrumental. Aurally, it's similar, too, though it feels more forceful in its delivery. This is very good, because as you'll notice early on in 'Songdown,' Bogey establishes a sound that he doesn't deviate from too often. He manages to litter that sound with intricacies like 'Reminisce,' however, to keep it consistently compelling. 'Ablaze,' the following song, is one of the better exhibitions of acoustic songwriting. "They say life takes its toll," Bogey croons over an intriguing landscape. Vocally, I'm not sure where I'd align him. If Eddie Vedder and Tom Waits were oddly combined, you may have something akin to Bogey.
The best song off the first half of 'Songdown' is most surely 'Tear.' The sparing female vocals are absolutely haunting, as are the vocals, delivery, and increasingly folksy instrumentation. In particular, Voice in the Attic seems to really understand the balance between a lone, emotional vocalist, and tactful harmonies. 'Tear' may be the best excursion of that on the album, and goodness, it's chillingly well done.
'Iridescent' indicates a tonal change on the album. Though the piece still holds tightly to the acoustic guitar musings of the previous songs, it does tediously enter some sort of realm of alternative, or even acoustic progressive rock. It's a short instrumental, shorter than the others, and acts as a segway between 'Tear' and 'Over.' Let's talk about 'Over.'
'Over' scored some significant recognition across the pond for Bogey's songwriting. It was damn well deserved--'Over' is a remarkable songwriting endeavor, definitely one of the more notable pursuits on the album. I've actually heard the song before--I had to hastily Google the lyrics to prove myself wrong that it wasn't a cover. I have no idea where, but the song is definitely recognizable. Anyway, I digress.
Remember my Tom Waits comparison? Well, Voice in the Attic fully embraces the Wait-isms on 'Rhinoceri.' Seriously, you'll think you're listening to 'Rain Dogs.' It's one of the more experimental songs for sure, but one of the best. I love the spoken word poetry accentuating a very 'Rain Dogs' atmosphere. 'Tribute,' the tune following it, walks carefully beside a potentially copyright infringement, essentially tributing Foo Fighters and Nirvana. It's an effective tune, one that technically falls into the 'parody' domain. (AKA - Legal.)
Well, this is one of the longer pieces on the Spotlight. Let's wrap up the three final pieces. 'Toil' is a surprisingly infectious song, residing in familiar territory, but welcoming territory at that. 'Fall' offers an instrumental composition with a stark contrast to its predecessors, mainly due to its acoustic-guitar driven nature rather than pianos, and finally, 'Songdown' closes out the album with one of the more fulfilling acoustic songwriting endeavors of this year in the indie scene.
This is truly a terrific record. From beginning to end, Voice in the Attic proves itself a versatile act with a variety of absolutely breathtaking sounds. In particular, 'Glass,' 'Tear,' and 'Rhinoceri' are the highlight reel. That's a highlight reel of a masterful piece, even one of the very best in the scene this year... so don't just listen to those three. Go into it all. It's worth every second.

Beach Sloth, SKOPE

An Absolute Triumph
Voice In The Attic's "After Songdown" sits with the best of the 60s and 70s folk greats. From the careful arrangements that emphasize every possible nuance of the sound, the songs prove exactly what can be accomplished with the acoustic. By letting his compositions positively burst with energy, Voice In The Attic shows off the level of thought that went into bringing these pieces together. Carefully chosen strings, drums, guitar, and the vintage piano play off of each other. Deep resonant vocals tie these pieces together. Lyrically the songs are mere vignettes giving glimpses of a greater whole. Precise percussion opens the album up with the steady "Day." The arrangement has true depth courtesy of the meticulous strings. As the piece progresses it grows increasingly louder and more insistent, letting the repetition create a sense of true emotional heft. Various interludes are interspersed within the album such as the mournful "Glass" and the ghostly "Reminisce." Serving as the heart and soul of the album is the tender work of "Ablaze" which neatly embodies all that is good in this sonic universe: from the slow delicate introduction to its gradual build towards something blooming and beautiful. Possessing a sense of hope is the colorful work of "Iridescent." Almost cinematic in tone is the anxious work of "Rhinoceri" with insistent flourishes of percussion softened by the quiet tones of the piano and guitar. Ending the album off on a kind note is the stripped down "Songdown." At times reminiscent of Nick Drake's tenderness, "After Songdown" is an absolute triumph.

Alex Faulkner, The Faulkner Review

A Refreshing Hybrid
Voice In The Attic is essentially the artistic vision of singer/songwriter BC Bogey, who hails from Cologne in Germany. His musical path has been unusual, starting out in metal bands before entering a musical conservatory at 23, where he seemed destined for a career as an opera singer. He left to pursue his musical ambitions elsewhere, forming a progressive rock project called TIDE, who became critically acclaimed.
Since then he has developed his own unique style as a solo artist, releasing the album Earily Familiar in 2010 and a few singles and EPs since. This second album, After Songdown, he describes as his 'unplugged album' and though it could be described as acoustic, that would be over simplifying his rather original sound. With a deep, expressive voice somewhere between Chris Rea and Tom Waits, he combines elements of folk, jazz, classical and rock into a refreshing hybrid.
Consisting of thirteen tracks, it contains both songs and instrumentals. Opening song Day introduces his organic, intimate approach which features picked acoustic guitar, dreamy female backing vocals and haunting strings interweaved throughout. Essentially, it's a song of longing: "I've been waiting for the day to break since you went away...".
Glass is a poignant two minute instrumental consisting of piano and strings, while On starts out simply, then builds into an intriguing song that stands on the verge of several genres. It explodes in a miasma of vocal harmonies towards the end, lyrically about the urge to "go where the wild things are...". Reminisce is another fine instrumental track, similar to Glass and rather moving.
Ablaze starts out as acoustic folk before a funky, jazzy beat turns it into something else entirely, built around the potent hook "We're ablaze with desire...". The female vocals complement his in a perfect yin/yang kind of way, both sensual and romantic. Tear is a lovely, tender song with beautiful, poetic lyrics: "You are a tear...a drop of ink in the sky...". The female harmonies are breathtaking on this one.
Over, the first single from the album, is another highlight. It appears to be about dying, but is in no way maudlin: "I cross the borders into the light, that's where I'm going, that's when I die...weightless, I'm soaring, this our goodbye...". A very deep and meaningful song, this one alone deserves to be heard by a wide audience.
Rhinoceri is an experimental track, a Tom Waits-esque spoken monologue over quirky percussion, while Tribute pays intriguing homage to Nirvana's Smells Like Teen Spirit and Foo Fighters Everlong in the lyrics, but sounds nothing like either. Toll is another fine song, with xylophone added to the instrumental blend.
Fall is the last instrumental featuring some gorgeous guitar work and leads to the closing title track Songdown. It's a perfect way to finish, an ode to his passion for life and music itself, the chorus running: "I don't know what I'm living for, but that's OK...at the end of the day, songdown leaves me wanting....".
Overall, this is a highly accomplished and eclectic album both musically and lyrically. It's the work of a genuine artist that will reveal its depths upon repeated listening, such is the level of detail and sophistication. A highly recommended listen.

Jeena Johnson, Soundlooks

A Masterpiece
BC Bogey set a very high standard for himself with his previous works but here he reaches and surpasses those standards by coming at it from an unexpected angle, playing with the seasoned wisdom of experience and the daring and ambition of youth, in the company of musicians that deeply comprehend and extend his idiosyncratic vision. It's obviously a must-buy for his fans, but even for listeners who are only familiar with VOICE IN THE ATTIC's moody contributions, it's worth picking up as an exploration of new emotional and musical territory by one of the most fertile musical minds around.
As soon as I began listening to this album I knew it was VOICE IN THE ATTIC. Well he has a pretty distinctive voice so how would I not know it was him? What I mean is that if you removed his voice and just played everything else, I would still be thinking these are VOICE IN THE ATTIC songs. The chords, structure, and arrangements – they all carry the feel of his other recordings and adding his wonderful voice to it wraps it into one nice package.
BC Bogey's work in general and this recording in particular, is a masterpiece which needs to be heard. The melodies are memorable. The harmonies soar. The rhythms are striking. The lyrics are sobering and personal. They speak to our times. BC has succeeded in the most fundamental component of great art. He has beautifully expressed the universal through the particular. The musicianship is impeccable. Brilliantly produced, the sonic envelope and production are unsurpassed. Drawing on the strengths of both, "After Songdown" has all the warmth and depth of analog, but does not for one moment lack a similar crispness and clarity reminiscent of digital. It is an extremely compelling experience. VOICE IN THE ATTIC is Nick Drake, Chris Rea and Tom Waits all rolled into one. Moody, melancholic and thought-provoking, songs such as "Glass", "Ablaze (JazzMy AzzMix)", "Tear (WatershedMix)", "Over" and "Songdown" are as inventive and beautiful as ever. A special mention must go to "Tribute", which is exactly what the title says, a tribute to the Foo Fighters and Nirvana, reworked and crafted with the glow of insight by BC Bogey. I was drawn into these songs musically and found myself pondering a poet's lyrics about life and looking for meanings.
With all of these elements considered together, I am not sure a more authentic, organic, neo folk-rock recording has been produced in recent times. Embedded with the ethos of the 60's, extracts from all the elements that made the 70's so magical, and without being nostalgic, this body of work succeeds by the very nature of its understated fusion of yesterday and today.
If you were to only buy only one recording this year, this should, hands down, be it. Mixed by Craig Durrance and Mastered by Bernie Grundman, "After Songdown" is the definition of sonic mastery. Most important, it is a musical experience that is compelling, moving, and nutritious. Popular music simply does not get better than this. VOICE IN THE ATTIC is a much needed anomaly in these times. Simply brilliant!