Hanalei - "One Big Night"

photo by Mitchell Wojcik 

Back in 1999, my awkward 16-year-old ass had just formed my first legit rock band. It was also the time that I started getting into a local music scene. One of the first shows I remember - was partaking in the poppy/punk outfit The Wunder Years in Cotati at the Inn of the Beginning. Here were these guys  - not much older than I was - so flippin energetic and talented. The audience was engaged, and every movement and note was an epiphany. There I was, front of the crowd, eyes wide - soaking in the dynamics and the charisma of lead singer, Brian Moss. This kid - flailing voice -had conviction. He and his guitar lurched toward the mic with every inflection - a sermon. Amidst my indulgence, I was knocked forward into the stage - my forehead kissing the headstock of Brian's guitar.

I left that show with a swollen forehead, a Wunder Years shirt, a copy of their album "Pitstops on the Road Less Travelled", and a permanent impression. That show, and that record, were fundamental in what propelled me forward into my own music career.

I followed The Wunder Years (through two records and a lineup change) up to their demise in 2001. I continued to follow Brian's projects thereafter - he moved to Chicago for a while with his much heavier band The Ghost. They had much-deserved success with a record, touring and recognition. (During his time in Chicago, he began working on some quieter material - which would inspired various versions of his Hanalei project.) Brian returned to California about three years ago. Since then he formed the heavy outfit Olehole, and he also spent more time working on Hanalei, this time as a solo endeavor.

After years without a formal release - Brian emerges as perfectly himself, by himself - with the release of Hanalei's "One Big Night" (Brick Gun Records/Big Scary Monsters). He recorded this full length over the course of two years - impressively, with the pinhole mic in his laptop computer. This is certainly not a polished a mastered release - but it is certainly tangible.

Each of the ten songs is its own animal - varying in recording approach, subject matter, and even genre - but the soul of Brian Moss lies consistently at each song's center, creating cohesion. Brian's strengths lie in his narrative lyrics - and his tasteful guitar approach allows for memorable hooks without the music getting in the way of his stories. This album seems to be a examination of the concepts of home, love, and community - most of which come across as personal. His voice is dynamic - and through talk-like melody to gritty cries, he successfully gets his points across with humanness and honesty.

I am impressed at Brian's ability to be so familiar and fluid with genre. He goes from songs with sweet folk elements to anthemic americana - simple, flailing punk to heavier blues moments. I appreciate his ability to sonically pay homage to more traditional solo acoustic approach, and also to modernize with drum programming and a use of vocal layering that at no time takes away from the integrity of the song's foundation. This is a man I can tell that really listens to music, and answers back to his influences.

I've had the pleasure of knowing of Brian over the years and more recently, sharing a few shows with him. It's very easy to get into his music and support him because he is the real deal; Sincere, accessible, and genuine. 

My favorites on this album: "Keep Digging", "Moth to the Flame", "Neverending Cigarette", and "Into the Black".

My only criticism: A few of the songs could have used a boost in vocal volume. I get the whole indie low-volume thing, but his words are so good, I felt slightly inconvenienced to work so hard to hear them.

You need to own this record. Thanks Brian, this is one of my favorite records of the year.