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CD Review: We All Grow Toward the Sea 

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Snowflake We All Grow Toward the Sea
(2014, the Satellite Union Records)

With his imposing frame and fistful of tattoos, D. James Goodwin looks like he would be more at home in the eye of a raging moshpit than the center of a psychedelic swirl. But working under the studio handle Snowflake, this inventive Woodstock multi-instrumentalist utilizes the abilities to shape-shift he's shown while collaborating with acts as varied as Norah Jones, Murder by Death, and Devo into the creative context of his own proper artist debut, We All Grow Toward the Sea.

The album was recorded in his studio, dubbed the Isokon, and one can surmise that Goodwin has spent quite an amount of time queuing up The Wizard of Oz and Dark Side of the Moon as tracks like the opening cut "Bombs" and the heady "Snakes and Spiders" explode out of the speaker box. But it's the producer's vibrant blend of Alan Parsons-crisp and Explosions in the Sky-crash across the remainder of the nine-song release, particularly on the lead single "Hurricane" and the major-chord majesty of "Stop Signs for the Broken Hearted," that really places Snowflake in a breed entirely its own. Not since Todd Rundgren inhabited Mink Hollow Road has Woodstock enjoyed the kind of tuneful art rock weirdness that Snowflake snows down upon its historic landscape.

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  • Ron Hart Reviews Snowflake's We All Grow Toward the Sea.


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