TRACK | Good Flying Birds – Wallace

5/5 golden merles

Indianapolis-based indie garage-poppers Good Flying Birds‘ have released the newly compiled talulah’s tape (21-24). Some sweet and intricate rock music, “Wallace” is my favorite of that set. Just when you thought the world’s desiccated husk couldn’t get any less appealing: whammo, some real fun and charming gas exits from an unknown reservoir. Arriving just in time for whatever horrors lurk just outside our temporal periphery, it’s a great relief to me personally.

A blended approximation of influence might include bits of Kevin Barnes, Alex Giannascoli, Lewis Allan Reed, and the three individuals within the great Grass Widow assemblage. Or just go see what they say for themselves. In either case take it from me, someone dumb and desperate enough to play the lottery: we’re lucky to have these songs.

Wondering through what’s left of the wasteland, it’s my favorite thing out of Indiana since at least The Cowboys. The sequences are arranged as though a human has carefully considered them and intricately compiled their subsections, culminating with delicate intention, maybe bordering on mathrock in some of its steeper niches. It’s careful, thoughtful work. I truly wish them well with whatever happens next after one emerges, budding gently out of the earth. I guess either promptly being stomped to death or maybe something good might happen.

There’s a run of 100 tapes on Rotten Apple, $8. They’ll be gone soon. Please also see the tracks on the Inscrutable Records comp with Answering Machines and Soup Activists.

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.