TRACK | The Clog – Come Ye & Follow Me

5/5 golden merles

“Come Ye & Follow Me“, newly released from Los Angeles Noise/Freak Folk outfit The Clog, is great and conspicuously graceful work. Within, acolytes suss out the true cost of devotion or defiance, a heralding flush with novel melodic elaborations and decaying poise.

Well beyond the depths of practical derision, the vocal components are constantly straining to subvert the anticipated cues, willfully shirking the numbers. Yet it is always running adjacent or parallel to precedent in a warm, familiar manner, lugged forward by the steady bass and drum.

Elegiac and expansive over the gently strummed guitar, the palette is ornately compiled. Each element — cymbal splash, shared & backing vocal, impaling synth, or lofty swell — donates yet another complimentary hook afforded to the careful arrangement.

“To show I’m worthy/And I shine bright
He said my ‘loyalty’s cheap and blind
‘”

Nothing overstays, each phase in a haggardly but pleasing harmony. In the closing seconds the artifice unveils its era a bit as the choral scale shifts octaves methodically downward. A worthy denouement to such a careful thing.

Tribute without hagiography, influence without parody, all that good stuff. The piece has a lot of fun playing around with America’s long history of cult, revivalism, proselytization, and the perpetual promise of a newly reconfigured or rebranded providence. These precursors have been exclusively proven co-opted, commodified, corrupted. But here is another chapter, another effort, taking back the tools and setting them again to a process of apparently earnest yearning.

The vinyl is $20/the digital album $10 or the track $1 itself on the bandcamp. For another work built with great care, see the short “A Kind of Testament” directed by Stephen Vuillemin.

TRACK | Guitar – Double Down

5/5 golden merles

“Double Down” is freshly forged Portland-based lo-fi garage and post-punk. A slightly disoriented rendition of what you’ve come to expect: the atoms scrambled up, the collider coughing up something new. The work is recoiling from structure and form a bit and thereby moving closer toward tone and feeling. It feels singular despite the common pallet. It unravels for a couple minutes before snapping back into a likeness for what you might favor.

The album didn’t immediately burrow into my skull on the first pass when I saw it come up at the esteemed and endlessly reliable tegosluchamPL. But a second pass as the closing track on onetwoxu.de‘s recent Verspannungskassette #40 finally got it through the thickness and had me excitedly searching “guitar” in google like a jackass for a bit.

What should rock music sound like in a geriatric oligarchy? It’s a tool, as always, but one of escape or commiseration? In Guitar’s self-titled you can have a bit of both. From where I sit —fleeing one price gouging to another, within a gauntlet of diseases, no prospects or future— it feels like a good approximation: the sound of disillusionment compounding. There are plenty of bits where the melody and traditional structure is subverted, detuned and driven off the cliff or into a pit. And ringing truer because of it. And with plenty of cohabitant reference points for footing. And the work is overall stronger for it, ending with this, the most approachable track, “double down.” In a class of them it would be voted most likely to succeed, but, in god’s name, at what? It is the most at ease with expectations and a great tune, bigger within the context of a really good set.

The cassette is out on Spared Flesh Records.