Fresh off the homegrown James Arthur’s Manhunt, Virginia-bred multi-instrumentalist Sean Morales’ solo debut prioritizes the right feel over high definition. The album’s rough veneer is indicative of its single-occupancy origins, but Morales’ rich songcraft and compelling arrangements exude a warm human scale that never veers into obscurity for its own sake. Leading with a cover burns in the less-traveled road at the outset, Chris Spedding’s “Video Life” crackling with heady effervescence. The title track flips the mood to dark noir with growling, flanged vocals and a menacing riff, and multiple songs start with acoustic blues before leaping in different directions. The contemplative country-blues of “Bring Me Home” evokes the troubled soul of Skip Spence. Utility guitarist and saxman Jonathan Horne of Young Mothers makes over Faust instrumental “Party 1” as a slow-building traffic jam to close.
Album Review from Echos and Dust
At some point in the late Seventies/early Eighties, punk bands that dominated the music scene at the time started to diversify and pick up on a series of familiar, or less familiar, influences and bring them into their music. Look at just what the ‘cats’ like The Clash, Television or The Feelies brought in.
So lets wind the clock a bit further on, shall we say some four decades on and start searching for similar innovators. It is easy to name quite a few, but let’s stick to a name that has not been heard of before. The case in point is a Virginia/Texas guy that goes by the name Sean Morales and his album Call It In.
Album Review from New Noise Magazine:
Out of Austin, Texas underground by way of Norfolk, Virginia, Sean Morales offers a refreshingly breezy mix of lo-fi rock on Call It In, his newest record…
Austin Town Hall Premiere’s “We’ve Been Apart”
Sean Morales has been working in the Austin music scene for some time, most notably as a member of James Arthur’s Manhunt. We now find Sean stepping out to craft his own debut, which is a stark contrast to JAM. Guitar notes are picked carefully at the start, so close to the mic that you can hear the strings if you put your ear to the speaker. Morales’ voice comes across like a whisper, barely willing to step over the guitar sound; he’s joined by an accompaniment at one point during the chorus. Then the song fades out with added textural layers and improvisation, rounding out the perfect vision that Sean’s created with this tune. You can expect the rest of his debut Call It In to follow suit; it’s being released by Super Secret Records this Friday.
– Nathan Lankford, Austin Town Hall