Category: United States

TRACK | Nick Normal – Rocket To Russia (Saved My Life)

5/5 golden merles

Dense and quietly devastating garage pop from Portland, Nick Normal’s “Rocket To Russia (Saved My Life)” opens with a David Lynch cameo and proceeds to bludgeon you with an inventive dredging of the interpersonal.

Lie to yourself / But please don’t ever lie to me

There’s a lot of rich, orthogonal storytelling put to work compiling an era, moving with assurance through the sequential reminiscences. Parsing the pastiche, it covers more ground than seems intuitively possible. The zonal telling is clobbered by some masterfully metered lo-fi tones.

TRACK | Guided by Voices – You’re Not an Airplane

5/5 golden merles

Dayton rockers GBV even further stripped down here, just Pollard and piano on this lovely quasi-lament. The pathos is insurmountable, coming in waves from the fluctuations of the tape deck, and early and then late in the noise, some squeaking that might be crickets or a rotary winding.

It’s very effective. At 33 seconds in length, a formidable track to cap off the album. It feels like an ode to the rust belt (At this point, maybe not then / maybe even then), and there is an immense hollowness to the claim that “the race is yet to come.” It hurts. But also there’s some hope in it; not in the short or the medium term, but maybe metaphorically, or at least that time is long and ours is not the only telling.

TRACK | Maggie Carson – From Here To Anywhere

5/5 golden merles

Second single off the up-coming The Dark Was Aglow (June 24th, Open Ocean), “From Here To Anywhere” is Americana full of vibrant twang and vengeance. A fanged and full-throated track which demonstrates that anguish is the engine of revival.

How do I leave / if the road’s just a halo?

There is a remarkable rising to it. With much might and lightly mangled, a strong and rousing performance has been captured. There’s great range and effect as the vocal rises to meet the instrumentation, the swelling synth and glittering banjo elevating alongside. It’s part commiseration, part rallying cry.

Having toured and performed with acts like Sharon Jones, Dr. Dog, and Nana Grizol, there seems to be a quality and breadth of first-hand and collaborative influences to pull from. It is a small spectacle, drawing on some subtle genre fusions while at heart remaining in the folk-traditional realm.

Open Ocean is not-for-profit record label with a donation and gift contribution model of acquiring both the vinyl and digital editions, suggested at $30/$10 respectively. I have seen plenty of pay-what-you-want digi releases, but none yet in the physical form, so please consider supporting these Rockaway Beach based operators.

TRACK | Tamaryn – Love Fade

5/5 golden merles

A nested blaze of shoegaze tones from San Francisco, it caroms about absorbing and addressing the void at scale. We’re about a decade out from release but the reverberations are fortunately just this side of eternal.

Echoing, cavernous instrumentation propels forward in concordant jangle. The lyrics speak of a reassessment in the harsh light of day.

Elemental, arching momentum builds a resonant, sonic wave, thermal and synergistic. Anyway, you know what shoegaze is: sonorous crashing, dissipating entropy that is also somehow continually regenerative. This is that kind of goodness.

TRACK | Times New Viking – Half Day In Hell

5/5 golden merles

With the proper balance of muck and bile, “Half Day In Hell” conspires to deliver noise pop rock with great wrath and fission. In this base of static hum, no melody is sacrificed to the texture but heightened by it.

Not exactly discordant, it is raised to extremes of saturation with very modest deterioration to melodic intent. Elliott and Murphy trade vocals in the haze, refining the wavelengths. It’s the best produced thing I have listened to (revisited) in ages.

After the last week of inconsequential societal response into a myriad horrors, lines like “we will stay forever for a week,” “we have done all that we can do,” “and don’t agree on what to do just to kill time,” and “we couldn’t come together even if we tried,” land a little bit differently, arbitrarily recontextualized to the present in the constant mire of all that is. But these statements remain vaguely stated enough to interpretively address any given scope of social incongruity.

It is modestly miraculous, full of fine trepidation, not reliant on habits and precedent but reaching in its forms to match the emotion and intention. It feels refined but natural and that is a bit freeing. Often when this path is followed it leads into greater abstraction that discounts melody and a greater loss of coherence. Which is fine, but needn’t be the case. Finding that balance is powerful and admirable.

TRACK | thanks for coming – losing touch (nyc)

5/5 golden merles

Direct and daunting in its indexes, “losing touch (nyc)” is a track about friends idly assuming divergent trajectories and how relationships either require continual maintenance or they stagnate, starve, or dissolve into thin air. It is a great conversational pop song about a lack of communication.

I wasn’t sure whether to feature the demo variation or the latter above with its assured layers of instrumentation, usually favoring the former for its sincerity and getting a bit closer to the moment the track takes shape. But nothing seems lost in the interim, and, alternatively in the latter, some phrasing is refined and the bass glows underneath.

There is an inspired octave shift that hones the verse and particularly the chorus hook. The modular orbit of the verse-chorus-verse syncs up solidly. It’s a heartrending and elegant track; it’s great.

TRACK | Liquids – Dont Wanna Get to Know You

5/5 golden merles

Solo project of Mat Williams of Indiana, Liquids’ Life is Pain Idiot is beaming, howling punk rock. Too many tracks to feature appropriately, so featuring the first I heard. The album end-to-end holds consistently and admirably steady delivering a series of lean and singed tracks.

That it’s a largely solo effort is truly impressive, no sense of motion or desire is lost in the administered layering. The vocal performance is appropriately clutching and cracking, landing as though live, buzzing over the vehement instrumentation. The vision is readily apparent and highly realized.

Discogs chatter claims a vinyl is in the works, hopefully this is the case. Until then it’s $5 on the digital platform all listening would take place on anyway.

TRACK | Beach Fossils – Twelve Roses

5/5 golden merles

“Twelve Roses” is super catchy lo-fi pop rock which conveys the weathering of a state of ennui and a longing to locate some channel or undercurrent of escape. It contains a cryptic nursery rhyme of a melody and two octave vocal layers collapsing into one another above some enduring, tinny drums and tambourine.

The delicate bass line runs part counter and part concert to the melodic vocal phrasing but compliments adding breadth to the aural tide. Depending on the bass levels of your setup maybe it comes in somewhere beneath the consciousness threshold but your heart probably noticed it, or anyway some intermediary of the limbic system.

It reminds me of an era of early dietary restrictions, huddling behind a desk in a closet (all eras really, but one specific desk, one specific closet), and growing a real bad, patchy beard through the power of neglect. Anniversary edition available on the Bandcamp from Bayonet Records.

TRACK | Twain – Young God (gotta lotta feeling)

5/5 golden merles

Twain’s “Young God (gotta lotta feeling)” is a bundle of tones and tethered vibrations, plaintive and patiently emitting. It functions on its own accord, a kind of Americana with spirit; unfortunately an exception to the rule.

There’s a kind of masterful, natural skewer and slouch to the unfolding instrumentation, definitely some majesty among the assembled merits. Not overworked, but still intricately plotted, just enough without getting lost in form or sacrificing the feeling.

And it builds up to something moving and unencumbered: naturally ascending tambourine, flush with guitar and a parading piano. Part of its glory is not being able to pin it down or put it dead under the glass. But some copy of it has been captured and maintains the illusion of a living body. And that can be bought for $8-20 in various forms.

TRACK | Simon Joyner – Joy Division

5/5 golden merles

Shattered in the heart and scattered in the brain... you asked for a chorus but you got a refrain.

Such is the quality of the storytelling that I’m hearing it for the some-hundredth time and still unearthing new lines or implications within couplets.

It probably gets a bit tiring being called a songwriter’s songwriter. But I have no time and I refuse to look into it. It’s a great compliment. Please just take the compliment, Simon.

The track is full of wonder, much compelling musing and brooding. It hosts a novella of characters conveyed in rapid sequence, their dialogs interleaved and exposed in momentary visions. The pastiche is formed from a scattershot of misgivings, commiserations granted a ceremonial quality, and articulated in a structured sequence that captures a larger feeling chronically an era of impressions. The thread is maintained in a consistent tone from a narrator that endears throughout by the beauty of his phrasing.

It is a testament. And it is beautifully balanced to captivate. If it wasn’t immediately apparent from the tremolo and distortion off that early strumming, when the instrumentation hits around the four minute mark, and the wailing rises to meet it, there is created a small clearing. You can escape for a couple minutes into it.