Sweden’s
Agent blå blend
a unique brand of post-punk. Their sound reminds me of those early 80s pioneering post-punk
artists in spirit, yet with their own take.It’s
a difficult sound to pin down, but I sure love trying as I’ve been playing
their third LP, Stab!, a ton since
its release back in April – nearly five full years after their second full
length back in 2019. Emelie Alatalo’s versatile and
mysterious vocals are once again rich and endlessly intriguing – landing
somewhere between Isabel Monteiro (Drugstore) and the legendary Siouxsie Sioux and I have been trying
to come up with a way to describe this album in order to find a way to express
my enthusiasm and do it any kind of justice.
From
the brief opening self-titled instrumental that merges into the beautifully
meandering “Ebb and Flow,” one thing is clear the band has been honing their
craft. The rhythm section has retained
their special connection by coming up with tension building push and pull
arrangements that definitely ebb and flow, but now there’s a lot of stellar
piano melodies guiding these songs in a similar way as the early Tears for Fears albums.
Normally
I am allergic to using very specific genre categorizations of bands, because of
artists like this. They are conjuring up
something that feels different to me.
Unique. “The Fascination of
Self-Sabotage” lifts off with soaring guitars like an early 80s UK post-punk
band, while “Mind Mapping” gives off a Goth vibe with its vague lyrics alluding
to some kind of separation and its resulting consequences. Whatever the case, it’s my favorite on an
album that continues to impress and grow on me.
So much to love here. The propulsive drive and whirlee keyboard
sound of “Discount” acts as a straight-forward tune with a very ghostly
atmosphere, while “Whatever You Want” might be their poppiest song to date as
it tries to work out intimate communication details over a buoyant beat.
As
I imagined, I’m failing to do a workable job at conveying the power of this
album. It is all too brief, it’s well
crafted, and dare I say underrated?
These are the kind of songs that have always fed my soul. The kind of songs that guide one through
rainy days that exacerbate troubling times, yet offer understanding. The words are supportive and the music
comforting by way of that understanding.
Instead of continuing to ramble on aimlessly, I will be direct. I highly recommend Stab! Allow it a chance to work its magic.
Retriever is a
five song EP from German five-piece Attic
Ocean. It is their second EP, and
you know what? They have figured it all
out! Each of these five songs evoke
different sounds, yet this is a tight unified whole. I can’t imagine breaking
these songs apart from their running order, so it feels best to listen to it in
its entirety instead of picking individual songs. Each song has been a favorite since its
release in October.
“Young Again” opens this all too
brief set with a shot of electricity charged by a driving bassline, and a
dreamy sounding guitar lead that evokes “The Cutter” by Echo and the Bunnymen. Hannin Nasirat’s urgent vocals along
with the vibrant instrumentation drawing similarities to the best songs from
Spain’s incredible Linda Guilala. “Young Again” is so aptly titled, because it
brims with an inescapable energy that is a powerful narcotic. This is one of the biggest joys in seeking
out and discovering new music.
Next up, is the huge sounding “Lilies
and Sea” that uses its heavy wall of guitar fuzz to bolster the chorus,
reminding of some of the best 90s indie by utilizing that era’s LOUDquietLOUD
drama. Hannin’s hushed vocals, and the
stratospheric twin guitars of Niels
Baumgarten and Maximilian Swierczynski
hint at Slowdive’s style of
shoegaze, while the galloping drums from Lukas
Moore, along with the huge sounding chorus that hints at Lanterns on the Lake at their most
anthemic.
“Glow” provides us with a jangly
spirally hook that reminds of Velocity
Girl’s “My Forgotten Favorite” as channeled through the cranberries’ third album To
the Faithful Departed. “Glow” is an
unabashed pop song with a cyclical vibe and a gushing haze of atmosphere.
The penultimate “Sleepless” thumps
along with strong snarling guitars and serious grinding bass from Philip Marx providing a heaviness the
previous songs don’t share. Moore sounds
like he’s trying to break his snare and bass drums, along with his splash
cymbals. It’s a glorious song that
smashes through its three minutes and is an unexpected change up.
The closing “Weeks into Years” is
another example of this band’s strong songwriting talents. It sounds timeless and immediately
familiar. I swear it sounds like
something I can’t quite put my finger on (ideas are welcome), but it doesn’t
matter because it’s absolutely glorious.
The soaring whirr of reverb highlighting the bridges, the Rachel Goswell-esque “oohs” from Chaperhouse’s brilliant “Pearl,” and
Marx’s extremely tightly stretched bass strings pluck out a danceable groove,
which all combine for a song that begs for repeated listens.
If you’re not certain from what I’ve written
here, this EP is astounding! I highly
recommend checking them out. This EP
initially hit me in a similar way that Australia’s Fragile Animals did with their debut LP last year. Songs with emotional depth, musical drama,
and catchy hooks. What could be better?
Has it really been eight years
since Magnet School’s last album, 2016's The Art of Telling Truth? Wow!
Lucky for us, they’re still at it and have graced us with another
collection of cranking twin guitar majesty.
They have always reminded me of Swervedriver,
with the dual exploratory guitars that aren’t afraid to lock in with the potent
rhythm section and crank out some serious rock-n-roll.
“The Raven” opens with an air raid
siren that acts as a clarion call to action. Once the guitars kick in atop a
beat full of stuttering nervous energy, “The Raven” jumps out as one of the
most rousing songs I’ve heard in eons.
It feels like a call to action like New
Model Army’s “Here Comes the War,” but with lyrics full of festering and
rotten imagery, it is more of a call for some kind of hex on a betrayer. The intensity of the instrumentation gives
the song an undeniable urgency that feels incredibly vital. There’s more turmoil ahead in “A
Conversation,” which is pushed forward by a bass-line that sounds like the rumbling
engine of a hot rod. It’s another song that
feels full of betrayal as the lyrics ruminate on the changing stories (misrepresentations? lies?) from conversations between the past
and the present.
Magnet School are always reliable
with some devastatingly good instrumentals, and here we’re treated to “Dotted
Eighth,” which absolutely rips. The band
locks into a tightly wound riff and soon sparks begin to fly. Once the cool breeze of “Mayor of Greenpoint”
comes in, I envision hearing/seeing these songs live as part of an especially
hot encore and this is the slow burning set closer that builds to the exciting
conclusion, as well as the highlight of the set. This EP closes with a classy piano and
strings “Reprise” brief instrumental of “The Raven” – replacing the original’s
harrowing and menacing threats into a quiet and peaceful reflection.
It was a long wait for these new
songs, but well worth it. Magnet School
have showed us that they set a high bar of quality control. Happy to have them back. Does this mean there’s more new music on the
near horizon?
The ultimatum. The word alone sends chills down my
spine. I guess I’m too wishy-washy. I don’t think in terms of all or nothing all
of the time. Not only do I shy away from
such definitive thought, but from people who think in such terms. I simply don’t get it. In some ways, I wish I did. However, ultimatums are relationship
sabotage. A restricted choice that
generally pits one person against another – as if one cannot accept both. I can understand an ultimatum in some
circumstances, but life is rarely so simple.
“Swaying,” the extended first song from Ten Million Lights’ new third LP,
Into Nothing, encapsulates frustration at being pinned down by restrictive
choices in a very relatable way.
“Swaying” is perfectly titled, as it
has a swaying musical quality, especially the extended instrumental dreaminess
that makes up the final half of the song.
It shares a similar back and forth vibe to Slowdive’s early instrumental “Avalyn II.” The first half, more reminds me of the old
Jane’s Addiction song “Summertime Rolls.”
Despite the free-flowing swing of the music, there is a serious tension
built up in the verses that releases in the defiant chorus. When Ryan
Carroll spurts out a sneering “No way,” it is incredibly satisfying. One can sense a strong sarcasm as he sings “ooh,
what’s it gonna be / the red pill or the green?”
Into Nothing
is full of strong and memorable choruses.
I’m particularly smitten with the Beach
Boys-esque vocal melodies of the twisted two minute curiosity that is “Irreverence.” “Lights Out” also shares an ‘oohing’ and ‘ahhing’
chorus, along with a stuttering guitar riff that feels very comfortable for
long time followers of this band. The
first single, “Snowdrift,” includes their usual subdued vocal approach, but has
an incredibly light musical touch that feels fresh and intriguing. My early favorite song is the melancholic “Wilder,”
which captures the stifled feeling of being absolutely overwhelmed by something as to become speechless. It includes a
dreamy rainy day reflection that I have always found incredibly alluring. The following song, “Shaky Man,” etches a
similar vibe as it finds acceptance in the changing of the season and needing
help.
If you’re looking for crunchier
numbers, they are here in spades. The
rollicking “On with the Show” begins with Russ
Ellis’ lurking bassline and some serious buildup to another fantastic rousing
chorus. Likewise, “Burn it all Down,” achieves
exactly as the title suggests, while the urgent “Cherry Sun” has some serious
squalling guitar fills throughout.
There is a bass-heavy murkiness in
the sound of Into Nothing that
reminds me of the old NW grunge days, and by that I mean before it became a
buzz word. There was a dark and shadowy
fear-laden NW indie rock sound that was equal parts no frills hard as nails
rock, Led Zeppelin wizardry, and
punk. “Hot Water,” the closing epic rocker, captures all of this and it sounds new and refreshing.
After several singles the past couple
of years, Japanese four-piece, SPOOL,
return with a full length at the end of 2022!
There is something special about this band, but to be honest, I have a
difficult time putting my finger on it.
They are always solid. They mine
a style that is a psychedelic indie rock that reminds me of the early Teenage Fanclub, when they were more
similar the Dinosaur Jr than the Byrds.
This new LP fits right in, yet mines
another adjacent style. The songs and
production here are very straight ahead and streamlined. SPOOL have often employed a dreamier,
exploratory sound, but here the basslines are tight with the massive sounding
drums. This album would’ve fit neatly
into the US dominated 4AD record
label years from about 91-95. I’m
talking about when 4AD began releasing alterna-rock hits by US bands like Pixies, Throwing Muses, Belly,
and especially the Breeders. I’m not implying that Spool sounds like these
bands, or is copying their sound, I’m just saying that if you appreciated these
artists, you might enjoy this one.
From the tight thumping of the
momentum gathering opening instrumental “fu_ka_n” to the closing melancholy “nevv
song,” this album is pleasing at every stop.
The highlights for me are the vaguely Lush-like ”Somewhere,” which scratches many itches, along with the
heavy and cranking “In My Head,” which includes a guitar line that sounds like
a buoy beacon in the distance, and the two minute scorcher “P-90.” “Light of
the Sun” is amazing too, despite ripping off the opening of Adorable’s 1994 “Vendetta” single. What a song to steal from though!! It becomes its own rocker by the time the
first verse comes in. The three pre-LP
singles are all nice inclusions, though surprisingly, three of the quieter
additions.
SPOOL, have easily earned the honor
of being a band that I will continue to purchase prior to hearing new
offerings. I know that sounds silly, but
I take that very seriously. There aren’t
many that my tightwad hands will ungrip for sound unheard. It almost feels like they’re taken for
granted after only three excellent albums.
When Wil and I started the This Wreckage ‘zine over 30 years ago now, the idea is that we would have people submit material that we would throw in each issue as is and put it out to the world.What we didn’t realize going in is that most people do not want to actually share things like that.We struggled in finding material to achieve our albeit ambitious goal of a monthly issue.
However, in a small way, I’d like to float out a similar request we used to do every issue, but with more of a singular focus. I am hoping that anyone who reads this would be willing to send some kind of story of a certain song that means something to them. This could mean a short story, an essay, a drawing, a photograph, a poem, a few words, I don’t know. One of my favorite things is to tie music to pretty much every waking minute of my life. It’s a problem really. There are hundreds of songs that evoke a lot of emotions for me for a variety of reasons based on their being nearby at the time. I absolutely love hearing and reading other people’s stories along these lines. I don’t care the genre or the artist, or my personal history, if any, with the song, I find these stories endlessly fascinating.
I’m hoping to encourage any and every one who might be willing to send some of their stories to me via messenger, or via email: tangledrec@hotmail.com. I would like to share them here, on this site, if given the permission.
Please ask any questions you may have.
A few months into the pandemic, like
late spring, or early summer of 2020, I remember we were all dealing with the
isolation of the lockdown.A lot of us
who were fortunate enough, could work from home, most places were closed, and
most people were wearing masks.There
was also very little traffic, even at those busiest of times.Despite all of the terrible news of conflict
everywhere, there were a few promising reports at the time that the lockdown
might be working and that we may have seen the worst of it by that point, and
that there were a few signs of how quickly the environment was recovering with
so little traffic every day.I have a
distinct memory of having to drive somewhere.It was a warm, sunny day and I had a brief flash of optimism.I can’t believe it now, but I actually
thought to myself: “This might not last much longer.”Apparently, I was drunk, but the idea that we
all collectively could actually make a difference and be willing to make
sacrifices for the good of us all.We
just needed to hang in there for a little while.
Pretty sure it was a Wednesday night
in June of 2020, when I tuned into DJ
Amber Crain’s fantastic internet radio show When the Sun Hits on Decayfm.com,
when she played a brand new track, “Changing Colors,” by a band named Weathering.When DJ Amber played “Changing Colors,” its
wall of guitar buzz smacked me across the face.It somehow became the best and biggest power chord I’d ever heard!I never get tired of its wallop.Even though it’s seemingly a heavy mass, it
is still light and tuneful, instead of the heavy sludge and grinding of so many
metal/industrial/noise bands that I once loved so much.Instead it’s the sound of inspiration and
energy.I remember, years ago, trying to
compare Bob Mould’s heavy solo album
Black Sheets of Rain to Sugar’s Copper Blue.Where Black Sheets’ guitars felt like actual
weight that we were fighting to climb out from under, Copper Blue’s sounds were like bolts of sparkling electricity
filling us with gusto.Both styles can
be great in their own way, but this…this somehow bridges both the heavy and the
fire.
I’m spinning circles
Like wheels in my eyes
I’ve been changing colors
All my metal oxidizing
I went absolutely cold.Shivers cascaded down my spine.A giant lump welled up in my throat.Water pooled up in my eyes.Not only did these words hit me with a ton of
bricks, as that super power chord transitioned into a luxurious, nearly
orchestral space for the vocals, but it was that voice.There are times that certain voices affect me
emotionally, and I do not know why.But
this voice, provided by Elinor Carbone,
reminded me of Emma Pollock’s voice
the first time I ever heard The Delgados
on their jaunty single “Everything Goes around the Water,” which quickly became
one of my favorite songs from one of my favorite albums ever.They have voices that crackle with emotion
and endless tunefulness.I can’t get
them out of my head!Their phrasing
keeps me humming their vocal refrains over and over, like a puzzle I can’t
solve, but keep making the same efforts to try.Those words too.As I grow ever
older, I constantly fight the notion that I’m spinning circles – getting stagnant,
but I feel like it’s a constant battle.I desire stillness and quiet.I
mostly want to be left alone.I want to
wrap myself up into an isolated cocoon and shield myself from the madness and
needs and expectations of others, but those tendencies are exactly what leads
to the rust build up.
The Delgados "Everything Goes Around the Water"
Watch me kick the dust up
Don’t like it settling settling down
These words hit hard and act as a reminder to shake
off the oxidation and fight to stay relevant or at least feel like I’m
trying.This is inspirational to me, yet
it is an ever increasing challenge as I age and as my health quickly
declines.Those leaves change colors no
matter what.This past October was like
summer, where it was well into the 80s and dry nearly the entire month, but
dammit, those leaves still began to change from green to yellow and so on.Ready to fall.
I can act so restless
Take care, you carry me home
It’s so strange to be loved
When I insist on being left alone
In recent years, I have had to face
the very real notion that I may not be able to take care of myself.Currently, I struggle to cook, clean, shower,
and on certain days: everything.Yet my
lifelong need to be independent and mostly alone has put me in a very real
crossroads.How do I accept help?How do I handle the idea that there are
people willing to help, and are simply waiting for the call.How do I handle such things without feeling
useless and embarrassed? However, that heavy guitar instills me with life, especially when that killer guitar melody sits in atop the fuzz, it is a perfect example of why music is Goddamn important. Plus, the song ends abruptly with a sharp snare drum smack and hi hat tap, like a lot of Bad Religion songs, which always leaves me wanting more. Don't get me started about my general dislike of fade outs.
😭
This
is not much of a story. The reality is
that I was sitting over my laptop with my headphones on, sitting in the dark,
yet I will not forget that moment. “Changing
Colors” is the whole package for me as far as a song is concerned. It’s exciting and fun to hear, to play air guitar to, to sing along with,
and it makes me feel things – a lot of things. When I hear it, I get inspired, I get sad, and I want to hear it again.
The song is powerful and defiant, and yet sad and reflective. During each airing of When the Sun Hits, there is always a coinciding live
chat about the songs on Facebook and initially, during that particular airing, all I could do was put
in a crying emoji. My heart was racing, as I was overcome with an intense
emotional and physical reaction to this song, and of course, my collector nerd
need to purchase it kicked in like a panic, which I did!
Writing this recommendation has been
slow coming for me.First of all, I
absolutely love this debut album from this Austin, TX four-piece.I’ve wanted to share this for several weeks
now, but every time I sit down to write something, I get lost while listening
and get nothing done.The good part for
me is that I keep hearing these incredible songs, and every time I listen, I
come away with a new favorite song.
Shifting Sounds Records is sure building an impressive roster with releases like
this one, Honeyrude’s incredible
debut in 2017, and the gritty Magnet School.Texas has become a hotbed for dream pop with
an aggressive edge.Much like Honeyrude,
this debut feels and sounds like the work of seasoned veterans at the height of
their powers.In addition, both bands
portray some of the most impressive and expressive soaring guitar work I’ve
heard since I first heard the Chameleons
back in the 80s, or maybe Chrome era Catherine Wheel.Guitarists Ken Hatton and Paula J.
Smith are on fire here.Each song is
highlighted by absolutely scorching hot leads that lead to descriptions such
as: stratospheric and captivating, as well as intricate cascading picking that
evokes images of the shimmering falling embers from a colorful explosive
firework high in the sky.Meanwhile
Smith’s lyrics are thought-provoking and her lead vocals are unique and unassumingly
alluring.I do not mean “unique” in a takes some getting used to sort of way,
but in a haven’t heard a voice like hers
before sort of way.This even truer
when bassist Stephen Thurman lends
his vocals seamlessly to hers, creating an intriguing melding that is wholly
its own sound.
The LP kicks off with the slow
burning “Pulse,” which is one of those particular majestic songs that would
shine both as the perfect introductory song or the big dramatic closing finale.In this case, as the intro, it does an
incredible job at setting an intense mood and to foreshadow the amazing journey
we’re about to embark.Next up are the
two pre-LP singles: the remarkably addictive bitter indictment of “Lost You to
L.A,” which contains some serious moments of cranking revelation spurred on by
the propelling rhythm section of Thurman and drummer Johnny Wilkins, and then there’s the redemptive “Last Crash
Landing,” containing a guitar passage in the chorus that I’ve found myself
humming eternally since I put this record on the turntable for the first time.“Marching Song” concludes side one with a
slow intro that comes on like the sun creeping its way over the horizon before
building increasing tension to an explosive conclusion.
The second side begins with the
heartbreaking epic “Green Trees,” before melding into the mid-tempo beauty of “Emergency,”
which evokes the effortless gliding principles of prime Abecedarians.“Put on Your
Face” brings some up-tempo fire to side two with an elevating chorus.The album closes this collection with the
brilliant “Slowly but Surely,” and it’s smooth comforting electric warmth.
Luckily, the digital version of
Center of the City Lights has two additional songs!These are no throwaways.In fact, I can’t get enough of the ‘what’s
the matters’ of the verses “Get Comfortable,” as well as the instrumental grind
of its chorus.The second album finale, the
melancholy “Spirit Guides,” is another spectacular highlight with a lot of
great lines like “kingdom come is a moving target.”This definitely one of the best albums I’ve
heard all year.Please consider
discovering this great new band!
When I first happened upon New York
City’s Versus demo tape in early
1992, I immediately loved it and wrote about it in the old photocopied ‘zine
days of This Wreckage.At 21, and with a pretty limited lexicon of
music history, I said this about them:
“The dual vocals of guitarist Richard Baluyut and Fontaine Toups, along with the bouncy
drums of Rob Hale give you an
inkling of the best early X songs –
with a little of the gentle Go-Betweens
thrown in.”
Not sure I would use the same
description/comparison if running across them now, but I cannot really argue
with it either.It was that same year,
most of the songs from this demo started popping up on 7” singles and
compilations on indie labels around the country, and thus began my
collection.I’ve been a devoted fan ever
since and have followed most of the band members’ other musical projects over
the years (The Fontaine Toups, The Pacific Ocean, +/-, and Whysall Lane),
including legendary NYC band, Flower,
the band that Richard and Rob were fresh out of back when this demo appeared (Ex Voto was recorded by Flower’s Ian James).The thing is, I’m not sure they’d ever made a
great album!Versus have a plethora of
incredible songs, but, in my opinion, the albums were always a bit spotty.
Surprise, surprise, then that they
reappeared this past May with an EP, Ex
Nihilo, that is truly inspired, and now nine years after their last LP,
comes their best full album, Ex Voto!
This collection is captivating from
start to finish.Versus sound
re-vitalized and more energetic than ever.“Gravity” and “Moon Palace” the one - two punch of the openers set an
exciting mood with catchy melodies, lithe playing, and some existential
lyrics.“Gravity” finds Richard asking
his significant other “Does the story end the way you want it to?” and “What is
left behind when the spirit’s gone?”It
seems as though he is ready to move on, but not sure how to end the dead end
relationship (“I can’t seem to say, I no longer love you”).There is also a feeling of overcoming the
mundanities and trials of everyday life and love and finding solace with
oneself.In this case, it almost feels
like this new start is from some sort of apocalyptic event, and our narrator is
finding strength and courage to find hope by letting go of the past (“I don’t
know where I’m going / I don’t know and I don’t care”).Next up is the mid-tempo floater, “University”
(which includes the great lyric: “paradise lost but we are alive”) eases us
into the busy “Mummified,” whose long intro includes excerpts of some kind of
movie dialogue, that I can’t quite make out or place, but reminding me of
second and third album Jawbreaker.Once we get to the song, we see every member
of the band featured beautifully with slashing guitar work, and crashing drum work
from the other two Baluyut brothers: James
and Edward, while Richard and Fontaine
trade off verses vocally and share the sing-along chorus.
Side two opens with the interesting “Baby
Green,” which opens with a plastic sounding drum machine pattern and a New Order-esque bass fill.The song actually reminds me of New Order’s “Every
Little Counts” in feel, but this is much more complex, and interesting and
fully fleshed out.The blunt sounding “Atmosphere”
comes on full tilt next, as Fontaine urgently asks “Have you ever felt that way
before? / Have you ever felt a weight you can’t ignore?”“Atmosphere” bleeds nicely into the orchestral
pop song “Nothing But U,” which is a nice brief reprieve from all of the
intensity up to this point.The epic “Re-Animator”
closes things out perfectly with an explosive final half.
This album, along with the EP from
earlier this year, have been quite a surprise!A welcome return to a band achieving new heights after such a long
absence.This kind of thing gives me
hope that maybe one day I too can get better at something.Maybe.Don’t hold your breathe.Instead,
go out and buy this record!
When I was a kid in the early 90s
falling head over heels in love with music, most specifically, the “shoegaze”
coming from the UK, I never thought I’d see its influence permeate so strongly
25+ years later all over the world.I
mean, seriously, we all may now think of Slowdive,
Ride, and Lush as hugely successful bands garnering rave reviews and sold out
shows, but that is only in recent times.Though they received a couple of years’ worth of heavy coverage in the
British music weeklies, they were quickly and actively dismissed as passé – in
favor of the next big scene.The term
shoegaze was meant as an insult.Giving
these hyper-creative artists the brush off, essentially because they weren’t
full of headline grabbing rock-n-roll wankers attempting to be needlessly provocative.They were all about the sound – that oh-so
wonderful sound.My experience with this
music in the Pacific Northwest is that there shows were marginally attended,
their music was not given any local airplay or exposure, there was really only
one record store that actively stocked the newest releases, and most people
were simply unaware.These days, those
British weeklies no longer exert a huge influence, the record industry has been
completely revamped, and aside from a handful of artists, music is fragmented
and narrow-casted to the point that no one really knows what’s out there beyond
their own streaming playlist.Somehow,
despite its brief window of exposure so many years ago, the wonderful influence
of these so-called shoegaze bands of yore has fed into a burgeoning worldwide
scene today.
Endless White
are a four-piece from China and their brand of dreamy guitar pop sits
comfortably with the greats of that original foregone era.Though, I’m not big on hyper-specific music
genre classification, I would say that Endless White are not a classic shoegaze
style band, Endless White channel that dramatic ebb and flow of the best dream
pop music, while evoking large doses of the rainy day reflection of the early
stuff by The Sundays, or maybe that
great album by Just Handshakes (Say It) from five years ago.Flow
West to You is Endless White’s debut album after a previous EP back in
2016.I know nothing else about them,
but that isn’t important.What they’ve
created on this collection is a group of amazing songs that elevate me to higher
plane of existence.
The album opens deliberately with the
band’s title track, “Endless White,” which sets a somber and intense mood.Repeated reverbed guitar strikes above a
skittering beat act as an introduction before settling into a nice groove that
lays the groundwork for the transcendent vocals of Zhang Wanyl.Meanwhile, the
next two songs are the most straightforwardly shoegaze tracks, “Slow to Crush,”
Wanyl channels her upper register and floats her dreamy voice into the mix of
soft splashing cymbals and crashing guitar fuzz (not too dissimilar from what
we’ve heard so far from the new Belgium band Slow Crush), while the spacious “Daylight Burnt Down” is
unbelievably heartbreaking in its beauty. Its chiming guitar lead leads us down
a reflective path before exploding into a dramatic fiery crescendo and then
closing quietly, unresolved.
Endless White perform with such
passion.You can feel the emotion in the
notes they play.The greatest example of
this is the brilliant “A Lost Dog Story.”I immediately fell in love with Wanyl’s voice on this song.Her warm, yet reserved delivery matches the
forlorn reflective stroll the song presents.This is a case where I long to know the lyrics, though I can feel its
longing sadness permeate every note performed right down to the casual drum
pattern.Another standout is the heavy “Nothing
to Regret,” which slowly builds to an exciting and explosive conclusion.On the penultimate track, Endless White take
on the ancient Scottish hymn, “Auld Lang Syne,” – that song we’re duty bound to
sing as the clock strikes midnight on New Year’s Eve – and it fits right
in.Theirs is a rainy version with a
tasteful two minute introduction before bursting into that classic refrain amongst
a soaring din of amazing sounds.Elsewhere,
“Some Other Life,” acts as a default pop single due to its crisp and tight
melody.
My only complaint with the entire
album is with the closing track, “Hit By Me.”It’s not the song itself, which is a jaunty sounding ending to an epic set of
songs, with Zhang Wanyl’s vocals pushed further out front than elsewhere, and
includes a fantastic mid-song transition.However, the song fades out at what feels like a random point.It feels a bit of a cheat to conclude such a
fantastic album.Please let this
wonderful record flow its way into your life.It is remarkable.
I’ve
not yet had the privilege to see Sacramento four-piece Desario live, but with this terrific new EP, I feel like I’ve been
transported into a small dark club hunkered down near the stage completely
entranced by their exciting sound. I’ve
already loved their first two albums for some time now and their tight detailed
twin guitar interplay has continued to grow on me, but these four new songs
feel a little different - a little more urgent and alive. Where those first two LPs (2009’s Zero Point
Zero and 2012’s Mixer) were very cleanly recorded, this recording is
grittier. It’s a mild change up, as they
have not lost their knack for stellar guitar melodies from John Conley and Michael Yoas,
but now new drummer’s Kirklyn Cox’s
pounding is more dynamic and upfront, and the bass-lines crackle like you’re
seeing Mike Carr pluck the strings
in person.
The EP
opens with the timeless sounding “Fallen,” whose chorus, rides atop a burbling
bass-line, feels like it’s been a part of my list of favorite all-time songs
for years. Conley’s, always calm and
friendly vocals do not betray the turmoil and increasing intensity that the
music describes. It’s a wonderful
combination. Meanwhile, “Capture” opens
with a wistful and longing guitar line that harkens back to The Ocean Blue’s incredible “Drifting,
Falling.” The upbeat “Down Among Them”
may be Desario’s shortest and most direct song, and much like “Fallen,” the
song increases in density and urgency as it progresses. Finally, the closing, “Red Returns” stretches
out a bit, as it details the desire to rid oneself of all memories, contact and
feelings of a former or about to be former love (“erase me from you”). The pounding bass drum beats like a broken
heart fighting to go on, as Yoas and Conley exorcise demons and jam out between
verses.
Desario
have managed to subtlety tighten their already solid foundation and release
their best collection yet. I sure hope
that there is a full length album on the horizon, because I cannot recommend
this enough.
It was way back in 2013 that I was
introduced to the smashing two song single “Fur & Velvet” from Austin, TX four-piece
Magnet School (#26 from 2013’s best
ofhere).Thankfully, the band continued their diligent
work and did not disappear on us, because The
Art of Telling the Truth is an outstanding collection!In my review of “Fur & Velvet” and the menacing
crawl of the dangerous sounding instrumental “swandive,” (both included on the
LP) I referenced the heavy twin guitar attack of the Swervedriver, which I still stand by, however, the production and
the soft blending of the exploratory guitars of Michael J. Wane and Mark
Ford remind of Ferment-era Catherine Wheel, which is about as high
of praise as I can offer.Yet it’s the
cranking rhythm section of Brandon
Tucker and Erik Conn that ground
the intertwining guitar melodies and layers of controlled feedback.
This is not necessarily what one
would normally expect from a Texas band, but these days with the great shoegaze
focus of Fort Worth record label Saint
Marie,and bands like Austin’s
all over the map Ringo Deathstarr, to
the promising postpunk of the debut EP from Dallas’ The Hourly Radio (going back like ten plus years ago), I guess one
never should pre-judge.
I love that there are three
instrumentals among these ten songs, because Magnet School’s strengths lie in
their ability to paint a vivid and exciting picture with their music alone, yet
songs like “Fur & Velvet,” the opening “We Were Golden” and the rainy
melancholy of “British Monuments” are all sing-along catchy. Meanwhile, the soaring “Irresistible Lie” and
“So Long to the Heavens” (both of which bring to mind Camden’s debut Reel Time
Canvas from the turn of the century) find the vocals down in the mix, not
rising above the fantastic arrangements.
The penultimate song, “Red Giant,” is a down tempo number that has
explosive turns, all while seemingly overstating the importance of a fierce
breakdancing throw-down (not really sure what’s going on, but it’s still one of
my favorites here).
If you enjoy dreamy guitar rock –
with an emphasis on the “rock,” then this album should be most pleasing to your
ears. It is available in three different
colors of vinyl as well, so pick up a copy while supplies last and be sure to
play it loud!
It’s albums like Midway Still’s latest (Go Team No Hope, their sixth LP, due out
March 18th) that keep me going and the very reason why I love music
so damn much. This band inspired me back
in the early 90s with their brand of punk rock, which was more in favor back in
the post-Nirvana haze, and now,
almost 25 years later, they’re about to unleash their best album yet!
In fact, when I listen to the frenetic
opener, “Wicked World,” I feel like I could be that hopeful younger kid rocking
out to “Wish” or “I Won’t Try” back when turning thirty seemed a world away
(not to mention forty). It’s
refreshing! Yet, at the same time, many
of their songs are written for the older, the downtrodden, and the
hopeless. There’s no reason why we can’t
pump our fists, play air guitar, and try to bounce around to instantly
memorable kick ass songs like “Where’s Your Sunshine?,” “Hey Summer,” and the
momentum gathering “Can’t Take It,” where drummer Declan Kelly goes about beating his drum set into submission (How does he
do it? My arms get tired just thinking
about it). The odd “Insect Limbs”
reminds of SST era Dinosaur Jr, as bandleader Paul Thomson adds a layer of strummed
acoustic guitar to the mix to lighten the sound a tiny bit inside the din of
buzzing electricity. Plus, like on their
last album (2012’s Always Ends),
there are two absolute stunners: the ultra-catchy “Only time Will Tell,” an
earworm that I never want to lose, and the sharp and stuttering “Don’t Walk
Away.” “Only Time Will Tell,” along with
the sort of ballad, “Next Life,” and the closing ode to the lost people of the
world: “Go Team No Hope,” would all make excellent feature songs in an updated John Hughes flick, where the
protagonists are still trying to find their way well into middle age. Actually, scratch that, this album is better
than that – the whole freaking thing should be played on repeat any time one
needs to turn the volume up to 11 and let loose.
I say this about a lot of criminally overlooked
musicians, but it amazes me that Midway Still aren’t more well known then they
are. Music this good – this addictive –
should be heard and enjoyed by the masses.
Dive in now before they decide to disappear on us again.
