T. S. A. F. – Happiness (Album Review)

Today’s review features “Happiness”, the new album by T.S.A.F.

T. S. A. F. Is the brainchild of singer/songwriter Tom Southern and based out of Virginia Beach, Virginia. Southern fronts the band, and is joined by multi-instrumentalist Chris Kendrick (StepPets) and drummer Mark Watts (SKP), in their pursuit of a “Suburban Key Party” type of sound. 

“Happiness“ is the album of songs that Mr. Southern says fall outside of the Suburban Key Party niche/bubble that he wanted to record and release. Influenced by pop, alternative, and rock music, “Happiness” has its own unique sound, which is definitely not Suburban Key Party. Lol. The album was recorded at Whiskey Bear Studio in Virginia Beach, VA, with Chris Kendrick serving as the recording engineer.

Curious? Me too.

So let’s have a listen …

“Happiness” is an eight-song, 30-minute album that begins with the song Dreams May Fade. As I expected, this is an acoustic guitar driven album. The acoustic guitar dominates the sound, with a keyboard and maybe a harmonica in the mix. I love the soft drumming in this piece. The chord changes are interesting, so that’s a good sign. I was right, it was a harmonica, as we get the solo after the first chorus, then we’re right back into the second chorus. I’m not sold on the voice, but it’s working for now. It helps that they’ve added a lot of reverb to the voice.

The second song, Turnaround, is, surprisingly, an electric guitar rocker, complete with bass and drums. Totally different sound from the first song. The voice is still drenched in reverb and sounds like they recorded the vocals inside a cave, but it fits The Cars meet Tom Petty-type sound the band is going for. You can hear keys anchoring the mix against the heavy rock guitars. At this point, I have no idea what to expect from the next song. Catchy hook focusing on “I think she’s going to turn around.”

Ladybug, the third song, sounds more like a Donovan or Beatles-type tune. Still driven by the acoustic guitar, but with layers of bass, drums, electric guitars, and keys. Another completely different song. I’m loving the delay thrown in occasionally on the vocals. Interesting chord changes. I also like the simple, but effective, lead guitar solo. A lot of bands think you need to make your guitar or other solos, super-complex; but I find, doing a lot of listening, that’s not really the case. Simple can be very effective.

Song four starts with a reverb-drenched keyboard, then the illusion of calm gets smashed by a very overdriven electric guitar, pounding bass, and steady drums, while the keyboard takes a back seat in the mix. This song reminds me of the band Styx. That’s four songs now, with none the same. Oh, I suppose I should mention the name of this song is Love on a Wire. The voice is still drenched in reverb, but it is growing on me as it always seems to serve the “sound” of the song. The keys do weird stuff with the lead guitar towards the end of the song, were the instruments making out in the studio? I’m beginning to wonder … the song tails off with an acoustic guitar.

Song five is a country-rocker called Just for You, so we’re into our fifth genre in only five songs. Lol. There is a very distinctive fast delay on the keyboards, which supports the other instruments in the mix and gives the song the sound and appearance of speed. Take that away, and it’s just a pretty well-written country rock song. With it, it’s like The Cars playing country.

The Broken Clown starts with a drum intro, against a keyboard swell. Enter an arpeggiated guitar. I’m digging the lyrics on this one, which has a Beatles Revolver-type of sound. There is a very dreamy soundscape underlying the chord structure of this minor song. Very nice tune. Loving the background vocals. Expecting the big guitar solo, and there it is. Simple, but so effective, it fits nicely into the sonic texture of the song.

Annie and Me starts off with a driving beat, quarter notes being pounded. Loving the background “yeah, yeah, yeah, yeah,” vocals. The vocals are still drenched in reverb, but serve the song. Very indie rock, this tune. Reminds me a bit of Elvis Costello and Bad Company, both the songwriting and performance.

The final song on the album, Sometimes Love Ain’t Enough, starts with a keyboard swell. Enter the stronger guitars. The vocals actually add reverb and presence in parts, but then drop back in the chorus. I figured they would have kept that lovely vocal sound going. Not really digging this tune, but it’s a good closer for the album. As is often the case with albums, the last song is the one the band is unsure if it fits on the album or not. Although it’s hard “not to fit” on this multi-genre soundscape of an album.

I feel a bit like I’ve just lived through an indie rock album from the early 1980s. I was not sold on this album after the first and second song, which sound completely different. But eventually, all the different-sounding songs seemed to weave together to form a cohesive album that won me over.

SCORE/Excellent: T.S.A.F. won me over with their unique interpretation of what an album is. This album is more indie rock than most current indie rock albums, but there is a distinct flavor of the early 1980s in the songwriting. The album, Happiness, did just that, made me happy. Well done! Much love, Beth

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