“May Day” is a terrific example of how the familiar can take a turn towards the powerful. Notice at the outset how Schoepp doesn’t belabor the introduction–a canny move when you’re operating in familiar territory: as listeners, we hear the two-measure riff repeated once, and we’re good, let’s move right into it. The same thing happens with the one-note verse melody, which fades as we get into the fourth measure–the ear grasps the effect and at that point Schoepp’s decision to expand the melody beyond the one note registers as an effective surprise.
Then, the chorus: why does something this simple work so well? There are three subtle elements I can point to. First, there’s the way that the melody here slows down, with key words drawn out over multiple beats. This presents an engaging contrast to the march-like regularity of the verse. Second, there’s no denying the power of unadulterated melodic resolution: this chorus ends precisely as your ear wants and needs it to end. Lastly, Schoepp begins the chorus on a high E and ends one octave below–a broad melodic range to cover in a simple rock song. This is nothing that you actually have to know, and it’s not at all showy, but I’m convinced the breadth of the melody contributes to its potency; anthemic rock songs tend to have more concise melody lines (think Tom Petty as a classic example). All this is delivered with Schoepp’s scuffed-up tenor, which lends a down-home appeal that brings to mind Steve Forbert, for another old-school reference point.
Raised in Wisconsin and based in Milwaukee, Schoepp has been releasing music since he was a teenager in the late ’00s. “May Day” is the title track to his new album, which will be released later this month. The single is up on Bandcamp as well; you’ll find the album there too upon release.