‘Music For Angels’ by Kouskous Heaven functions as a sprawling, sonic cartography of the human condition, navigating the thin line between grounded reality and ethereal whimsy. The New Jersey-based collective has transitioned from the local circuit to touring the East Coast, carving out a niche defined by a monochromatic, esoteric aesthetic. Each member serves as a multi-hyphenate creator, blending their roles as writers and producers to establish what they describe as angelic funkadelic frequencies.
From the opening moments of “Paris, Texas,” the listener is invited into a landscape where Izzy Nuñez delivers lead vocals with a haunting clarity. Known for a style that navigates the space between whispers and tangible feelings, Nuñez anchors the band’s more experimental tendencies. The track is a tempestuous introduction, where gentle vocals contrast sharply against rough, layered electric guitars and the rhythmic precision of Logan Bogdan on drums. Bogdan, whose deep roots in jazz include performing with the Mingus Big Band, brings a technical proficiency that allows the group to shift from chaos to calm effortlessly.
This sense of journeying continues into “Thinker Bell,” a more contemplative piece relying on intricate guitar picking. The interplay between Ryan Puharic and Josh Skoudis on electric guitars create a shimmering, dense texture. Puharic, a key architect of the band’s sonic identity, works in tandem with Skoudis, a prolific multi-instrumentalist who often spearheads the group’s DIY production. Here, Bryan McNaughton joins on bass guitar, adding a melodic complexity that mirrors the track’s clever title and highlights the funk elements essential to the quintet’s core.
The album takes a surreal turn with the anthemically titled “We Makin’ It Out Of Neverland With This One.” This garden-gaze centerpiece utilizes high-energy delivery to bridge the gap between basement-show grit and ethereal production. The rhythmic dialogue between Bogdan and McNaughton provides a robust skeleton for Nuñez to explore her vocal range, while Skoudis and Puharic weave a tapestry of sound that feels like a modern myth. This intensity shifts into the visceral energy of “Dogs,” an explosive number where Will Schwester contributes vocals. Schwester, a versatile presence who often provides foundational rhythm, adds a raw, contrasting layer that defines the band’s more aggressive side.
As the record progresses, “Art of the Riff” serves as a distillation of progressive instrumentation, focusing on urgent momentum and technical groove. This electric bravado is immediately balanced by “Akoustic,” a stark stylistic pivot that strips away distortion. On this piece, Josh Skoudis demonstrates his versatility by handling acoustic guitar, bass, and percussion, creating a self-contained world that highlights Nuñez’s vulnerable delivery.
The emotional weight culminates in the devastatingly poignant “Are You Ready To Go Back To An Empty Home?” Built on a foundation of calm tension, the song eventually erupts as guitars slice through the track and Bogdan’s drums shatter the stillness. Finally, the album closes with “Cats,” a kaleidoscopic finale return to a mellow state. Ryan Puharic adds the bright chime of a mandolin while Will Schwester introduces the whimsical tones of the melodica. Logan Bogdan and Josh Skoudis layer in percussion and synth work to build a lush exit. It is a fitting conclusion to a record that refuses to be categorized, leaving the listener in a state of celestial suspension.
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