Category: Rock

TRACK | Possible Humans – The Thumps

5/5 golden merles

The track for me represents music with a broader capacity than is normally assigned or attributed to it, one that is attempting to more properly incorporate doubt or uncertainty into the model.

Lyrically there is a reassessment at work and at the time of delivery we’re privy to some middle-stage in the process of reinvention.

Meanwhile the musical accompaniment is the energy embodied which acts as a catalyst for this effort, itself a spiraling, mechanical whirl.

The persistence fuels the framework, and is, through its action, a kind of enriched ground of possibility for the vocal performance to grow out of. Quietly at first, so as to not draw too much attention. And then later with determination.

It all locks together nicely in the tenuous/tempestuous process. Order the album here.

TRACK | Cool Ghouls – Gord’s Horse

5/5 golden merles

I am overcommitted to tasks and have not yet listened to 2021’s At George’s Zoo. But one thing I do know is that 2017’s tour tape from Cool Ghouls, Gord’s Horse, is strong stuff, wistful and warped.

Pleasing and affably askance, the title track ambles forward in a timeless sort of tread. There is a parity and tension present in the unfolding, part Americana in its pacing and instrumentation and part freak-folk in its poetic insinuations.

There is created here a well-worn path that somehow remains renewably enthralling due to the gently obscurantist phrasing and the overall loveliness of the wave-like, enveloping backing vocals. It’s an enduring and dreamy track.

TRACK | The Archaeas – Absent Mind

5/5 golden merles

The Archaeas “Absent Mind” is a dose of fiery garage-punk imported from Louisville, Kentucky. Recent P&P favorites Wombo are also from the neighborhood. But the ultimate embodiment of human evil Mitch McConnell also resides there, lest you think it strictly heavenly indie rock turf.

The track has all the peculiarities of elegantly controlled chaos and strikes a marked balance between its upfront, surgical pop characteristics and the smoldering, ruptured punk elements.

In the series of humiliations and degradations known as ‘the world,’ this can be a difficult balance to strike, what with all the distractions and immiserations afoot. But, considered or intuited, it has been achieved; the whole s/t album is great. With respect to Style vs Substance, Content vs Form, Design vs Function, Et Cetera vs Etc, there is enough tasteful thrash and tarnish around the imminently coherent core for you to invest your credulity in.

As the empire collapses, turns its exported brutality inward, and quality of life decline for us all, we’ll surely turn on one another instead of our shared oppressors. But one thing I hope we can all agree upon is that Louisville is making some sick tunes and that we’re both proud of and thankful for them.

TRACK | Saralee – The Motion

5/5 golden merles

Saralee’s “The Motion” has some immediate, panoramic, and vivid language. It is for me instantly displacing of my own or transportive to its own universe.

The lo-fi demo-like quality of the seemingly live recorded accompaniment provides both urgency and credulity as the track leans into the gutsy performance. The variable ranges of emphasis on the lead vocals conduct well the underlying unrest.

A small memory or anecdote, well detailed, acts here as an entryway into a great expanse of wondering, empathy and the unknowable. It is immensely effective storytelling.

So much of pop music is a kind of shoddy mesmeric and definitive declaration, an unconvincingly detailed and performative edict of eternal truths: hollowness and posturing. So, instead, there is a striking and surpassing power in embracing doubt and continuing to operate from a position of uncertainty. I have a great admiration for songs that end in inconclusive proclamations.

TRACK | thanks for coming – a character you can relate to

5/5 golden merles

Making music allows for a dialogue with culture instead of simply being dictated to. I think that Rachel/thanks for coming is maybe working within some form of this intention. They create adroitly constructed narratives with cunning delineations. They seem to relish the precision of fully conveying a convincing lowdown.

That’s not nothin.

They can make you out to be some kind of evil / They will convince you when they show you your own demons

There’s a fundamentally gripping and illuminating character to these expressions. It is material full of musing and philosophical brooding which provide an imaginative advising on the more or less ineffable. It’s a highly recommended catalog if you like lo-fi pop music with a narrator’s palatial scope, inventive phrasing, and a lack of patronizing oversimplification.

TRACK | The Rangoons – Two Minds

5/5 golden merles

The Rangoons’ “Two Minds” is an agreeably caustic mélange of noise. A phrase I promise I didn’t use a thesaurus to locate.

It was written peripatetically, on a walk to retrieve $40 worth of burgers (2) in the night. A rate hike commensurate with the corporate greed that cheapens and saddens all of our lives.

Music is innately funny.

What if I were to sing my woes in rhyming couplets to an arbitrary melody?

Music is innately serious.

I have honed my woes into a format most easily consumable by others in the hopes of being understood, of being tolerable while engaged in the act of conveying, and to attempt to whine in a manner that is pleasing, maybe even appealing. It’s an attempt to make entertainment of unease, or anyway of a feeling. It is a reasonable concession when confronted with the void and a limited time in which to be known.

The Rangoons understand the ridiculousness and seriousness involved in this dichotomy. And that this careening, combustible duality can be calibrated and pretty well conveyed.

TRACK | OK Cool – Self-Sow

5/5 golden merles

Chicago’s OK Cool are making ruminative and well crafted hooks, angular and blazing within a shoegaze/bubblegrunge genus.

While lyrically pensive and introspective material, the instrumentation is sheer revelry and admirably honed to a point of exacting precision. There is great density within its melodic ornamentation, and seemingly always another generous layer or accent driving the tracks metering forward.

Sonically rich, there is considerable attention put into the pacing of all the accompanying forms. The vocal effects are an early ghostly clarion, but equally laudable are the vaporous, sophisticated guitar tones phasing in and out of the mix. It is a joyous thing to behold in the headphones.

TRACK | Thee Marvin Gays – Iron Maiden

5/5 golden merles

Sounding suspiciously like your neighborhood middle-american egg punk, Tournai’s (Belgium) Thee Marvin Gays own and operate guitars.

The tones are framed in a glaze of static residue, gently smudged, and securely off kilter enough to be believed: some of that magic which has not yet departed the world.

A friendly slap in the face. Sounds a bit like P&P favorites Together Pangea and Dead Ghosts. By some means the 2014 release Sleepless Nights has escaped my gaze to this point and I am looking forward to pouring over it’s excesses.

TRACK | The Mokkers – Peace of Mind

5/5 golden merles

One excellent album from 2016 that even James Acaster himself overlooked, The Mokkers’ In a Daze is tremendous, tremulous Berlin-based surf/garage rock.

I really need a change /
I need it like the plants need water when there’s no rain

Well-versed and wholehearted, “Peace of Mind” is a searing and self-assured cut. More or less timeless, it dissects a few essential organs steeped in history that are worth preserving and successfully transplants them.

Smoldering vocals, speaking in and with instrumental accompanying tones of the past, beseeching, to reconfigure the present on better terms. In league with others who do this properly, like our dear parasocial friends Shannon and the Clams and Sheer Mag.

TRACK | Daughter Bat and the Lip Stings – chrissy dins

5/5 golden merles

More Love Songs was released on New Years Eve, maybe to spite the compulsive year-end-listers, maybe not. I think it’ll still make its way onto my 2022 set because it is deserving of praise. And, though it may try, the Gregorian calendar alone doesn’t dictate when or what we listen to.

Lots of formidable flux here, and it’s a little unnerving in it’s unfaltering shimmer.

Melody and tone are of paramount importance. But also up there in import is the character of the tones themselves, vocally and the instrumental accompaniment, which envelop a delirious kind of defiance, defiant but grotesque.

You can have it both ways, transformative between each line, the grave seriousness and the severed irreverence. It’s more fun that way, in fact, and richer. There’s a lot of value in taking either of these divergent impulses and honing them into a few heightened hooks which share a purpose. In that stylistic choice is a brighter/weirder future that maintains its sense of humor throughout the collapse.