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Camille Peruto – From the Sea to the Sky – Album Review

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If you thought it wasn’t possible to mash influences from Muse, Taylor Swift and Paramore all into the same band, you clearly haven’t heard South Jersey’s Camille Peruto. On her new album From The Sea To The Sky Peruto showcases all the talent that brought her to American Idol and proves that she has a lot of song writing talent to back it up.

Bouncing vocal lines and restrained guitar line open the album on “Crooked Roads,” giving its pop sound some push before the piano takes over. Each moody pre-chorus slows things down and darken the mood before the piano drives the choruses with emotional hooks. The track blooms in its finale with the drums and guitars joining the joy and finally letting loose. “Biscuit Moon” switches to a more reserved acoustic jam sound, with fluttering percussion and subtle rhythms baking the track. The vocals drive the track with their calming melodies and the quiet roars of the background guitars and synths providing a texture for the vocals to float on.

The subtle guitars and tock of percussion on “Can’t Get Away” make the track feel like a message through a portal. But the attack of the choruses bring Peruto’s vocals to the forefront, attacking with more hits and ferocity than the slow verses, which are marred by some cliché phrases in their lyrics. The pop sensibilities on the soft rock of “Let Go” is especially noticeable on the keys, light drum touches and smart mixing and composition that runs through the song. But even it sounds a little too poppy the impressive vocal hooks in each chorus will impress nonetheless.

“Silent Melody” changes things up with a dark gritty rock tone and some minimalistic drum machine percussion. The track stands out on the album as one of the heavier and more distorted tracks on the album. There’s a Paramore meets moody indie on “Swords” with drums pounding as distorted reverb rings out. The shift to a darker mood on these tracks is especially interesting considering the overt pop that opens the record.

Lighter guitars come back in on “The High Road” where Peruto takes an early Taylor Swift approach while mixing in more complex background arrangements over the pre-chorus and choruses to make a dynamically fascinating song. A touch of vocal distortion on “Crazy Crazy Mad” sets the tone perfectly for its angry attitude. Although guitars feel almost too gritted at times the melodic hooks that are all over this track will stick with you and easily make you see past the small details.

Similar to “The High Road” Peruto mixes softer verses with more sonically dynamic choruses on “Set Up A Sail” with some brilliant and image-evoking sounds coming from the powerful guitars and keys. “Row Ghost” lands in the synth pop world with pounding beats that fit its guitar driven sound surprisingly well, and still has enough catchy moments to keep it from droning on.

There’s a hint of Muse in the guitars of “Lagoon” but the vocal blending is all Peruto in this slow-burn of a track. Layered harmonies, dreamy guitars and some creeping drums that give the song a brooding crawl that make its choruses all the more satisfying.

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Owen Maxwell