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 | Casual Technicians – A Lifetime In The Morning

5/5 golden merles

Songwriting triumvirate Nathan Baumgartner, Boone Howard and Tyler Keene have returned with an album (Well Once There Was A King) of playful profundity, earnest strife, and drive-thru funerals. While melodically devoted, it is also again an anomaly among a landscape of folk and rock dominated with fashion, franchise, and anti-poetics.

“It feels too easy to forget/the lie I settle on”

Conceptually the album starts from a bizarre notion of songwriting: what if melody wasn’t a crutch for generalities but instead an enhancement to storytelling populated with keen or amusing observations? A novel conceit among those who generally shovel their shit my way. And, it must be said, a great relief.

“If I only had a mile to go/I’d find a place to lay my head/but I’m traveling on a road that never ends”

Sometimes you must subvert the song to accurately project the world back onto itself. Examples of that sort of happy mangling are many on the album: the muttered uttering of “…to love” in “Power City, USA, Part 2,” the muddied waters at the beginning of “A Road That Never Ends,” prompting and framing its sincerity, and the fractured request of “Please/don’t/worr/y” on “I’ve Lost Control of the Ending.” These are good ideas, well realized within the medium of a song.

The curvature of the carnival mirror realigns the source from out-sized to proper proportion, hymns carefully crafted to contort and bypass inherent biases. Some chances taken for me don’t land as solidly but that is the nature of experimentation, risk and reward. And the rewards greatly outweigh the blunders here. Plus it’s an expansive album; and as a living document, some sections may grow on you as others rot and wither over time.

It’s pay what you will on the bandcamp. Sending also with it Takashi Ito’s “The Moon.”

TRACK | variety – Plover

5/5 golden merles

Variety’s “Plover” is Texan avantpop rock composed of compelling narrative subversion, sticky melody and tone. The hook is a compacted material derived from descriptions of naturalistic imagery, the conflict of the domesticated and undomesticated in comparison to the authors interpersonal dilemmas. It’s thoughtful and pretty dang fun.

I need my streams and mountains tempered by the grim specter of death. Gluck and Johnson, Bly and Ruefle. Some human fingerprints on the felled log, beach towels on the bog, a figure ever-present on the vista to trample and insist.

Whereas at the end of “Lying in a Hammock at William Duffy’s Farm in Pine Island, Minnesota” Wright pulls it all back home, a new frame, fitted, variety’s entry point with “Plover” is immediate. But it functions in a similar way. The relationship is described then promptly the tangent turns away, meanders off skyward, the footnote consuming the page. And then another. Relative to the original focus, the elaborated metaphor informs the initial concern, compounding all the more weight.

Two of the greatest modern scouts of imaginative rock have already signed off on the making, Groschi and Doyle. If you’re not already following them, what are you doing here?

The singles are combining into an album to be released in November: bandcamp / name your price.